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Communication Officer

WORLD HEALTH ORGANISATION ON SAFE LISTENING GUIDELINES

Feb21

2018 The WHO releases the Environmental Noise Guidelines for the European region “The main purpose of these guidelines is to provide recommendations for protecting human health from exposure to environmental noise originating from various sources: transportation (road traffic, railway and aircraft) noise, wind turbine noise and leisure noise. Leisure...

SOUND REGULATIONS IN EUROPE

Feb9

In February 2019, Live DMA organized a Working Group on the topic of sound regulations in Europe. The aim of this Working Group was to achieve an inventory of the various sound regulations ruling the European live music scenes and exchange on the various difficulties these regulations bring to the...

REPORT: POST COVID-19 CHALLENGES IN THE LIVE MUSIC SCENES ACROSS EUROPE

Jan16

2022 marked the return of live music after a harsh period of silence, bringing back already existing challenges but also new ones. The European live music sector continues its hard work to encourage the audience to come back and enjoy a concert, festival or a club night together in a...

AUTHOR RIGHTS SOCIETIES IN EUROPE

Dec7

THE LINK BETWEEN ARTISTS AND VENUES Authors Rights Societies or Copyrights Societies, are the link between creators (e.g. artists) and the services and platforms (e.g. venues, clubs and festivals) who spread their work. Creators and other rightsholders of artistic works entrust Author Rights Societies to grant licences on their...

GREEN RIDERS & ARTIST HOSPITALITY

Oct13

Setting-up a concert means, first of all, welcoming artists. When it comes to sustainability, live music venues can implement many things to welcome artists and their staff in a way that is comfortable for them AND respectful of the planet. This can be done in-house by the venue, as...

“It’s really important for us to be at the forefront on the sustainability and inclusion questions, to inspire others and help with all these things. If we don’t have a sustainable future, we may not have a future at all.”

Hilma Kekkonen, Svensk Live - (Sweden )

“It’s all about sharing and cooperation!”

Boris Colin, FEDELIMA - (France )

“We need organisations like Live DMA to support our activities. During COVID, it was important to have Live DMA meetings so that we could learn what was going on in the other countries, and that was very helpful when it came to the lobby work on the local level”

Ingrid Stroom, Live Music Estonia - (Estonia )

“We have been celebrating the 10th anniversary of Live DMA, a network which was created in 2012 by venue networks from all over Europe. The purpose was to share knowledge and skills with each other, and to set up common projects, and I think we’ve succeeded in doing that!”

Marc Steens, Clubcircuit - (Belgium: Flanders )

“I learned to collect and process data with good quality, and also I learned the importance of data to start a dialogue with institutions. Good data gave ACCES a lot of recognition”

Elda Gomez, ACCES - (Spain )

ʻʼThanks to Live DMAʼs Survey, we showed our government that the more a venue is subsidized, the more money they generate. The Ministry of Culture had little knowledge of our sector. So to present these figures from different European countries was crucial in re-valorising our subsidies.”

David Dehard, Court-Circuit - (Belgium: Wallonia & Brussels )

ʻʼAs a venue, we believe that the live music sector is insufficiently recognised as part of culture. Networks like Live DMA can amplify local voices. Being part of Live DMA help us gain knowledge from across Europe and find partners with similar challenges.ʼʼ

Ieva Irbina, LPNVA - (Latvia )

ʻʼ[European Cooperation] gives indeed vision: weʼre every day provided with mental-openness and support. It might seem imperceptible but itʼs fundamental to feel part of a wider ecosystem. It boosts our awareness as representative of a whole sector and this bring direct advantages to our members.ʼʼ

Federico Rasetti, KeepOn Live - (Italy )