âIt’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 donât have a sustainable future, we may not have a future at all.â
Communication Officer
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Together with 11 other European music organisations, Live DMA is part of the advisory board of the feasibility study investigating a possible future full-scale establishment of a data collection organisation called The Observatory as a core strategic resource to drive relevance and value for future policy actions in the music portfolio and across the sector. This feasibility study in conducted by KEA and Panteia.…
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The second wave of the Covid-19 pandemic is extremely harsh for the live music sector, already strained by months of adjustments and uncertainties. The precarious situation of many venues, clubs, and festivals increases day by day and hundreds of live music stages are at imminent risk of closing permanently. The diversity of the entire music…
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In this Live Style Europe radio show, we explain how live music venues and clubs are affected by Covid-19. Since March 2020, live music venues and clubs had to cancel or reschedule all their events, which is their core business and main source of income. In some countries, they were able to slowly reopen, however…
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Together with 109 pan-European cultural networks and organisations, we published an open letter on October 30, 2020, to call the European Union (EU) and EU member states to protect culture as part of the coronavirus recovery plans and dedicate at the very least 2% of national Recovery and Resilience Facility (RRF) budget to culture and…
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In March 2020, at the occasion of our Live Style Europe Podcast, we interviewed Isabelle ‘Isi’ Von Walterskirchen, board member of PETZI and manager of the ClubbĂŒro at the Rote Fabrik in Zurich about the concept and principles of horizontal governance, a democratic and non-profit practice of management. Find out more about horizontal governance in…
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Ethic charters, guidelines, manifestos, special programmes or mission statements are a great way of developing humane policies around the values communities would like to see in society. By making explicit their values, live music scenes commit to them. They state who they are and who they are going to be for the next years. They…
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Folken is a concert venue and a studentsâ house in Stavanger, Norway. In 2013, the venue experienced a drop in visits and revenue as well as an overall bad reputation from their neighbours and the students of Stavanger. To counter this, they decided to research exactly what people thought of Folken as well as what they…
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Analyzing the popular music sector is one of FEDELIMAâs (FĂ©dĂ©ration des Lieux de Musiques Actuelles â Federation of Popular Music Venues) main tasks. Its motor and founding principle of action is a methodology we have named âShared and Participatory Surveyâ (SPS). The SPS method is a philosophy of action that relies on accompanying and involving…
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This publication provides insight into the Facts & Figures in the Netherlands for the year 2019 of 53 of the 59 music venues, and of all 52 festivals, that are members of the VNPF in October 2020. The year 2019 was a record year for the Dutch music venues and music festivals in every respect.…
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âItâs all about sharing and cooperation!â
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âWe 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 levelâ
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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 weâve succeeded in doing that!â
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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 recognitionâ
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ʻʌThanks to Live DMAÊŒs 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.”