āIt’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 donāt have a sustainable future, we may not have a future at all.ā
Communication Officer
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In January 2021, the UK officially left the European Union. While many people working in the cultural and creative sectors deplored this evident step away from European cooperation, Brexit also brings new logistical, financial and bureaucratic challenges to UK live music scenes as well as European ones. Indeed, according to the Music Moves Europe study…
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All around Europe, live music venues are doing a wonderful job in finding ways of building new audiences to make live music accessible to as many people as possible. Diversity is a value dear to many live music professionalsā hearts. WHAT IS THE TRY-ANGLE? Inspired by the expertise of these live music actors (see reports…
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We are pleased to share the official inventory of Live DMA, stating the numer of venues, clubs and festivals part of our network! This official document aims to show the evolution of our European network. The live music sector in Europe is growing fast and new national networks are created in order to support the…
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Together with 7 live events and creators organisations, we welcome the EU guidelines on the reopening of cultural venues & highlight additional measures to be taken to facilitate the free movement of artists. Following two letters asking the European Commission for the implementation of a reopening strategy with recommendations on the necessary steps, this new…
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76 International, European & national music organisation are āClaiming a front row seat for musicā calling for policy makers to fully acknowledge the artistic, social and economic value of the music sector and to live up to these words in political decision making! After 15 months of lockdowns all over Europe without concerts, festivals, clubs…
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With over 400 000 music events, 950 000 artist performances and 70 million audience visits in 2017 (Live DMA Survey, 2020), concert venues and clubs are the music sectorās foundation when it comes to artistic creation and the development of new talents. As part of our What artists say campaign, we asked artists from all over Europe…
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Erasmus+ is the EU Programme in the fields of education, training, youth and sport for the period 2021-2027. Based on projects of high quality and inclusive education and training, as well as informal and non-formal learning, in order to ultimately equip young people and participants of all ages with the qualifications and skills needed for…
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We are thrilled to announce our collaboration with Tallinn Music Week, which will hold our Live DMA Forum. It is a great opportunity to reinforce the European connections and put forward the importance of cooperation to support our local music scenes. The Live DMA Forum will take place on the 1st of October 2021 in…
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On the occasion of the EU-US summit taking place in Brussels on June 15th, where the american president Joe Biden meets the representatives of the EU institutions, Live DMA with 107 other cultural associations signed a joint letter. This letter was drafted by Pearle, the European association for music, performing arts and live performance organisations,…
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āItās all about sharing and cooperation!ā
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āWe 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 levelā
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“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 weāve succeeded in doing that!ā
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“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 recognitionā
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Ź»Ź¼Thanks to Live DMAŹ¼s 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.”