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  • COVID-19 Live Music Sector – Reactions, Impact & Support

    Event date : 12 March 2020
    Event organizer :

    Last update: 27/05/2020 – 16:00

    The shut-down or reduction in activities in order to meet the requirements to prevent the virus from spreading has a dramatic effect on the cultural sector, and the small live music organisers in particular. The economic situation of live music venues, clubs, and festivals is already very fragile as they are very dependent on revenues generated by audience expenses to survive. They are now under tremendous pressure and fear for their existence.

    These places, and the live music associations, have to act fast in order to prevent too much financial, health and prejudice harm for live music venues, their audiences and their workers. Concrete measures and support from government that can be implemented quickly are crucial to prevent individuals and organisation from financial ruin.

    In this article you will find:

    1. An overview of National Governments Restrictions or Measures Affecting the Live Music Sector
    2. An overview of Advocacy work & governmental support per country & Live DMA member

    To complete this article, find here an overview article of the European Union’s Reactions and Measures. Browse our other resource on COVID-19 here!

    1. National Governments Restrictions or Measures Affecting the Live Music Sector

    Find here the Live DMA COVID-19 map of the live music sector’s situation in each country.


    EMEE have released an overview of the measures taken at national level which impacts live music events. This list will be updated depending on the change of measures taken at national level.
    >> Click here to access the latest updates on measures taken at national level.


    The website POLITICO has also released a blog with live updates on coronavirus.
    >> You can access the Corona Live Blog here.

    2. Advocacy work & governmental support

    National live music associations have been very reactive to the national measures taken, as the situation evolves from one day to another.

    The measures taken at national level vary from one country to another: from recommendations not to attend events of over 5000 people to ban on events of over 1000 or 500 or even 100 people to venues being closed down and cities being into quarantine for the most severe cases. Some governments apply this to all types of events, others only to indoor events. Some of these measures are taken at local level (only for a given city, canton or region), others are taken at national level.

    The potential lack of clarity of the measures, and the fact they vary from day to day makes it difficult for live music associations to anticipate their activities and communication on COVID-19.

    Many Live DMA members have released statements to inform the public authorities of the impact of such measures for live music venues, clubs or festivals. No live music association questions the necessity of such measures to avoid the virus to spread. Our Italian member, KeepOn Live even put into place an initiative to keep live music alive by streaming some concerts online for people to enjoy while they are at home. Find some examples of statements and initiatives below:

    Belgium

    Wallonia-Brussels

    Advocacy work from live music sector

    Our member Court-Circuit in Wallonia-Brussels has released an article keeping track of the situation in the Belgian French-speaking region and of the concerts that are cancelled and the venues that are closed.
    >> Access the article here.

    Court-Circuit partnered with other representative music association from Wallonia-Brussels to launch the Now What? project, including a questionnaire to keep track of the venues cancelations and loss, as well as a newsletter giving information for the sector. They also declare their desire to advocate as the sector’s voice during the crisis towards public authorities.


    As the government announced a ban on large gatherings until the 31st of August, the live music association Court-Circuit wonders in an article what will become of “small venues’ concerts” during the summer, based on the examples of other countries. They have also, with other Belgian music association, released a statement asking for the prolongation of unemployment and aid schemes until December 2020 at least.
    >> read the statement (in French)

    Aid efforts supporting the live music sector

    To be completed.

    Flanders

    Aid efforts supporting the live music sector

    Minister of Consumer Affairs Nathalie Muylle announced the following measures:

    In case of force majeure, the organizer must not fulfill his contractual obligations, the same applies in reverse for the customer. Specifically, this means that the customer can request a refund of sums already paid. The organizer may postpone an event to a later date, however the consumer cannot be obliged to accept the event on an alternative date and in this case is entitled to a refund of his ticket.

    As this situation would currently lead to severe income loss and could put many organizations in serious financial difficulties, this arrangement was worked out for events affected by the corona crisis:

    • The organizer will temporarily not be required to refund tickets if the same event is organized at a later date within a reasonable time

    • If the consumer can demonstrate that it is not possible to attend the event on that new date, a refund of the tickets can be provided (for example illness or professional reasons)

    • If the event cannot be organized at a later time, the organizer must be given enough time to make the refunds so that refunds can be spread over time.

    Link to Interview with Minister Nathalie Muylle (NL)

    Denmark

    Advocacy work from live music sector

    In Denmark, Dansk Live have been working together with their national authorities to put into place the ā€œCorona unit of the Government and the business communityā€: a compensation scheme for the cancellation of events as a result of COVID-19. The scheme compensates for lost revenue due to cancelations of events as well as for extra expenses due to deferred events. The scheme applies for events which were to take place from the 6th of March until the 31st of March 2020.
    >> Read the full statement and conditions for compensations here (in Danish).

    Aid efforts supporting the live music sector

    On 11 March 2020, Denmark notified the Commission of its intention to set up a DKK 91 million (€12 million) aid scheme to compensate organisers of events with more than 1,000 participants or targeted at designated risk groups, such as the elderly or vulnerable people, irrespective of the number of participants, which had to be cancelled or postponed due to the COVID-19 outbreak. Under the scheme, operators would be entitled to be compensated for the losses suffered as a consequence of the cancellations or postponements of the events, for which, for example, tickets were already sold.

    A compensation scheme has been created allowing organisations to seek compensation for lost revenue as well as additional expenses generated by postponed events. This scheme has been the response to the demand from the live music sector to protect organisations with fragile business models particularly exposed in this crisis.  


    On the 6th of April 2020, the Danish government has announced a ban on large public gatherings until August 2020. DanskLive expressed the relief of the live music sector to finally be able to have a clearer view of the future in the midst of this terrible situation.


    The compensation scheme for events caused by COVID-19 as a result of COVID-19 is extended until 31 August.

    The scheme will also cover more events than before. Compensation can now be sought for events with over 350 participants, where previously only compensation for events with over 1000 participants could be sought. In addition, consecutive events have now also been included in the pool, so events such as festivals, which usually run over several days are now also included in the pool.

    The extension of the compensation scheme follows the ban on larger assemblies until 31 August.

    >> More info on Dansk Live’s website

    Estonia

    As state of emergency was announced in Estonia on 13/03/2020, Live Music Estonia, with other organisations from the sector, launched a list of recommendations to the Estonian Ministry of Culture and government to mitigate the economic damage for the live music sector of the COVID-19 crisis .
    Live ME asks for an assessment of the damages for the sector and state aid effort to reduce them:

    • to establish an emergency fund in cooperation with the Cultural Ministry of Estonia and local governments to support:
      – Concert organizers and venues so that they can fulfill their contractual obligations towards employees, artists and tech companies; as well as to compensate the organizers of cultural events for the obligation to repurchase tickets for deferred or canceled concerts;
      – freelance musicians and the entrepreneurs who represent them (agencies, managers, etc.), who have lost their main and, in many cases, sole income, due to their missing concerts;
      – on a case-by-case basis, other independent and private operators in the music sector who have lost their primary income as a result of the situation;
    • make the use of existing public grants more flexible so that beneficiaries can reorganize their activities in an emergency, for example by channeling grants for concert activities to development or elsewhere and avoiding the withdrawal of grants already granted;
    • initiate a debate on the reduction of VAT on concert tickets to 5% before the previous economic crisis, or consider lowering VAT to 0%, as has been the case in Latvia and Lithuania for decades. This would help restore the sector’s capacity;
    • find an operational solution to provide the sector with bridge financing for running costs, if necessary, to avoid immediate redundancies in small businesses and other current liabilities.

    Live ME is also currently running a questionnaire to map the losses of the Estonian music ecosystem in order to assess the damages on live music of the COVID-19 crisis to public authorities, an initiative welcomed by the Ministry of Culture in Estonia.


    Live Music Estonia and Music Estonia are compiling all documents, plans, articles, etc. in a Google Drive open to all. It includes essential articles and references to some initiatives such as a donation system for artists and venues put up by a ticketing company or the citizen solidarity initiatives.

    [button url=”https://docs.google.com/document/d/18aRju2w7Hi4N99DaVb4qAEgUD7d3X7Yg46RDDpTYwWw/edit#heading=h.g5ojx6bsnvvx” target=”_blank Ā»]Access Live ME Corona-drive[/button]

    Finland

    The COVID-19 crisis has also hit the Finnish live music sector: estimations by LiveFIN amounts net sales losses in March-May to over EUR 90 million. This threat affects 30 000 jobs and the whole music ecosystem.  LiveFIN demands direct and strong state aid-funds from the Finnish government in order to support local music scenes.
    >> Access LiveFIN’s statement


    The Ministry of Education and Culture has announced a new funding channel that will also compensate communities like our members for the losses caused by coronavirus control measures in spring 2020. The grant is intended for the activities of professional communities in the creative industries, arts and culture, the exercise of which has been hampered or prevented by restrictions caused by the corona pandemic. Grants cannot be awarded to organizations that have received a grant from Business Finland or the ELY Center for the same purpose. The aim is to be able to maintain the operating conditions of the arts, culture and creative industries during the emergency situation caused by the corona pandemic.
    >> read LiveFIN’s article on this (in Finnish, 30/04/2020)

    France

    Capacity-building and advocacy of the live music sector

    Collectif Culture Bar-Bars sends regularly some newslettere containing information with the updates on the national measures affecting their members (prevention measures, compensation schemes, insurance…). They make their newsletter public and available on their Facebook page.

    FEDELIMA, with other French music organisationshave release the statement “Cultural Diversity and Solidarity: Urgent Measures Need To Be taken ” (in French). In this statement, they notably ask:

    • the arrangement of the intermittent status under which many workers and artists in France are;
    • the implementation of a safeguard plan for small and non-profit organisations;
    • to be part of a dialogue with the government in order to find solutions together.

    The signatories also calls for intra-sectorial solidarity during this crisis.


    On 25th of March 2020, FEDELIMA released a joint letter with 19 other music organisations to raise the alarm on the potential consequences of the COVID-19 crisis on the structures and people who do the musical diversity in France. The 20 signatories represent over 1500 music structures in France (live music venues, radios, labels, producers, music schools…) and they have estimated that the closures of the venues from 15th of March to 31st of May 2020 would cost €300 billion to the French music sector.
    Despite this economic loss, their would be other damages:

    • more precarity for music sector’s workers;
    • impact on other sectors which notably rely on the music sector’s activity (hotels, restaurants, security and cleaning companies…);
    • economic loss (not included in the €300 billion) that cannot yet be counted (due to cancellations or reports of shows, loss of patrons…);
    • The difficulty of public financial management due to the postponement of the municipal elections in France because of COVID-19;
    • The competitiveness and busy period for music venues once they will open again will inevitably induce show cancellations:
    • The potential psychological impact on audiences‘ behaviour and habits;

    The signatories of this letter ask for a sustainable and long-term recovery plan for the music sector, and not only emergency state aid.

    After some specific demands for the French music sector, the signatories call for solidarity during this peculiar times, especially as it is the first moments of existence of the National Center of Music, a state institution reuniting all organisations of the music sector. They hope this crisis will reassert the value of all public services and that future policies will turn to putting general interest at their core.

    [button url=”https://live-dma.eu/wp-content/uploads/2020/03/CP-25.03-VERSION-FINALE-2.pdf” target=”_blank Ā»]Read the statement – 25/03/2020 (FR)[/button]


    After the lockdown in France was announced until the 11th of May, and the president forbid large gatherings until “mid-july at least”, the French Ministry of Culture announced that some small festivals could take place after the 11th of May. He described rural festivals of not more than 50 people, all sitting on a chair at 1m of distance, with masks and gel to wash their hands. This statement provoked vivid reactions among the sector. FEDELIMA and other music organisations released a statement “What Festivals after the 11th of May?”, to ask a clear and detailed order from the government, expliciting in which conditions such festivals could take place.
    >> read the full statement (in French)

    Aid efforts supporting the live music sector

    The Ministry of Culture announced that for the music sector, a support fund will be set up for the most vulnerable professionals and will be endowed by the National Music Centre (CNM) with an initial budget of €10 million, which may be supplemented by external funding. The CNM will also suspend the collection of taxes on ticketing for the month of March 2020. This is part of a global emergency fund for culture of €22 million for culture. Link to press statement (FR)

    In addition to the measures announced by the Government and in particular by the Minister of Culture, several decisions have been taken to assist the music industry. The tax on shows has been suspended and the payment of aid has been simplified. Above all, the National Centre for Music (CNM) has decided to set up an immediate financial support mechanism amounting to €11.5M (including the financial aid package announced by the Ministry of Culture). This plan is only a first step and is intended to be completed and expanded very quickly. Link to CNV Covid-19 support page (FR)

    Specific measures to support artists and workers that depend of the live performing regime Intermittence were announced in order to limit the social impacts of this crisis which particularly affects performers and seasonal workers and other short contract employees. Link to press statement (FR)

    The author rights collecting society Sacem also announced aid measures for live performance organisations.

    Venues and clubs can also apply for partial activity, a tool provided by the government for preventing economic layoffs, making it possible to keep employees in employment, avoid short-time working in order to maintain or even strengthen their skills when their company is facing economic difficulties.

    In addition, the Government has put in place immediate support measures for businesses in general. The State, as well as local authorities have recognized the Coronavirus as a case of force majeure for their public contracts.

    • Delays in the payment of social and/or fiscal installments
    • In the most difficult situations, direct tax discounts may be decided in the context of an individualized examination of applications ;
    • Support from the State and the Banque de France to negotiate a rescheduling of bank loans with the bank;
    • The mobilization of the Investment Bank Bpifrance to guarantee bank lines of credit that companies may need because of the epidemic;
    • The maintenance of employment in companies through the simplified and reinforced short-time working scheme;
    • Support for the handling of a conflict with customers or suppliers by the business mediator;

    Germany

    Advocacy work from live music sector

    The German live music association LiveKomm have realised several actions to react to the COVID-19 measures. A statement was released, a poll was sent to their members to evaluate the impact of COVID-19 on their activities as well as a communication toolkit for their members to communicate effectively on coronavirus.

    >> Read the statement here (in German).

    Translation of the statement: (Translated with www.DeepL.com)

    The LiveMusicCommission e.V. (LiveKomm for short) welcomes the decision of the Federal Government to make aid packages available for the economy, but calls for small and medium-sized cultural and creative businesses to be included in the planning.
    For in view of the recommendation of the Federal Minister of Health Jens Spahn to cancel events with more than 1,000 people, there is great uncertainty.
    The small and medium-sized cultural businesses now fear for their existence, as an ordered closure threatens insolvency for many operators. Above all, the privately operating music clubs and festivals, which receive little or no substantial public support, cannot survive without the necessary revenues and operate in their cost/revenue structure in the marginal cost range. The same applies to festivals and open airs that have already made advance financial payments and are now uncertain whether their event will take place.
    “When Mr. Spahn says. “I also encourage everyone to weigh up what is so important to you in your own everyday life that you don’t want to miss it in the next two to three months – be it the club visit, the birthday party in the family circle or the club meeting. “, then solutions must also be suggested for the enterprises, which receive large problems with these warnings” says Axel Ballreich, executive committee of the LiveKomm.
    The operators and organizers in the LiveKomm network were active very early on and are still willing to cooperate intensively to prevent the spread of the virus. Due to the warnings, a considerable drop in visitors is to be expected, which will result in further economic losses. Most clubs in Germany have a capacity far below 1,000 visitors. A loss, especially of small music stages, could have a devastating effect on the entire live music sector for the next few years. With the lack of these stages, whether in the metropolises or in rural areas, the entire new generation of musicians is in danger. LiveKomm therefore calls for concrete and quickly implementable instruments for the live music sector, which could look like the following:

    • the establishment of a default fund for (concert) events
    • the deferral of advance tax payments and health insurance contributions
    • assumption of deficiency guarantees
    • cost sharing for event cancellation insurance
    • rental subsidies for the venues
    • unbureaucratic short-time allowance

    LiveKomm also advises making events dependent on comprehensive risk assessments. It is important that decisions are made in close cooperation with the authorities.
    The board of the LiveMusikKommission e.V.

    >> Access here the communication toolkit provided by LiveKomm (in German and in English).

    CLUBCOMMISSION BERLIN

    ClubCommission Berlin press statement on coronavirus – 28/02/2020

    The Berlin Club Commission have put into place United We Stream – Berlin: a live streaming platform on club culture and a crowdfunding campaign to support Berlin night clubs.

    ClubCommission Berlin, in association with Arte Concerts, have released United We Stream: the streaming platform of Berlin clubs, organizers and artists. This channel will propose the whole range and variety of the Berlin club scene. In addition to the live broadcast of DJ sets, live music and performances, United We Stream will also be a platform for round tables, lectures and films on club culture topics.
    In addition, United We Stream also proposes a solidary funding pot for the public to support the Berlin club scene: Save Berlin’s Club Culture in Quarantine.

    Aid efforts supporting the live music sector

    The German government has announced €550bn of financial aid dedicated to the creative industries and other German businesses by the government. Culture minister Monika Grütters says the aid will also benefit the creative industries, which are worth €100bn to the German economy.

    “This industry has been particularly hard hit and in some cases existentially affected by event cancellations or falling revenues from ticket sales and the loss of fees without replacement,” said State Minister for Culture Monika Grütters.

    Minister of State Grütters intends to sharpen and implement existing programmes in such a way that the measures adopted by the Federal Government will specifically benefit cultural institutions and, in particular, artists in need as well as other freelancers working in the cultural and creative industries. Link to press statement (DE)

    Federal aid rests on three major pillars that are suitable for responding to the specific living and working conditions of creative people:

    1) Small businesses are helped to secure their operations.
    2) Personal living conditions are safeguarded.
    3) Many individual legal measures are intended to alleviate hardships.

    For more details, Link to the press statement (DE)

    This collaborative pad provides an updated overview of all the emergency aid and support services currently available to cultural and creative professionals.

    [button url=”https://padlet.com/kreativedeutschland/zu41puas9yk3?fbclid=IwAR13j5_QO8AjAnMC2mGkGP_XpN7UoUdps7T6ziSQzTcPEjYaWD5UeGPfYf8″_blank Ā»]Overview of aid & support services (German)[/button]

    BERLIN

    Companies in Berlin affected by the Corona crisis can apply for the Senate’s liquidity aid starting Thursday 19/03/2020. This also applies to all small and medium-sized companies with up to 250 employees including restaurants and clubs. At the beginning of the week, the Senate had announced that in a first step, a volume of up to 100 million euros in bridging loans would be made available through the IBB.

    Thereafter, a liquidity fund of up to 200 million euros will be available. In addition, tax prepayments are to be adjusted to the situation and interest-free deferrals of tax debts are to be possible.

    Italy

    Advocacy work from live music sector

    Italy is the most affected by COVID-19 measures: all live music venues and clubs are closed down, some cities are under quarantine.
    In reaction to these measures, the Italian live music association have launched several campaigns.

    #CheMusicaSarebbeSenzaPersone campaign (#WhatWouldMusicBeWithoutPeople campaign)

    This campaign was launched in support of the Italian live music venues, clubs and festivals and all the professionals who gravitate around these places: technicians, sound and light designers, artistic directors, managers, artists, press officers, bouncers…
    The argument of the campaign is that the live music sector is made by these people. What would music be without them?
    This campaign was used by KeepOn Live to discuss with their Ministry of Cultural Goods and Tourism. The Italian live music association have shared their concerns with public authorities, and highlighted that, although public health is their main concern, the social, cultural and economic roles of live music scenes must not be forgotten. KeepOn Live asked the government for a compensation scheme for the closed-down venues and clubs.

    #IoRestoACasa campaign (#IStayHome campaign)

    KeepOn Live have joined MiBACT ( Ministry of Cultural Heritage and Activities and Tourism. It is dedicated to the protection, conservation, enhancement and promotion of the Italian cultural patrimony.) in the #IORESTOACASA campaign, which aims at providing cultural and artistic offers online, so people can enjoy them while staying at home.
    KeepOn Live created their own streaming platform, for people to enjoy live music even though they have to stay at home: “KeepOn-Air“, a virtual space where to share all the live, talks, interviews and interventions connected to locals and festivals that will be streamed during this forced closing period , to have a digital archive of the live music sector to bring to the ministries when the emergency returns.

    #StayOn

    #StayON is a relay of events streamed to gather the Italian live music sector around a single large virtual stage, focusing attention on the need to rekindle lights on cultural spaces: places of social gathering and a source of work for thousands of people in Italy.

    Every live stream is associated with a link to support local fundraising campaigns dedicated to hospitals and civil protection, a way for the live music sector to show support and solidarity.


    Find a detailed overview of COVID-19 measures at national level, put up together by KeepOn Live in Italian here.

    Latvia

    Aid efforts supporting the live music sector

    In Latvia, the Ministry of Culture and the Consumer Rights Protection Centre agreed on some first measures in order to deal with the relationship between event organisers and their audience.

    A 6 months time frame was agreed on to allow organisers new dates for postponed shows starting to count form the day when state of emergency will end. During this time frame, tickets do no have to be refunded. If this time frame ends and the organiser does not have announced a new date for the already paid show, the organiser will have to refund the tickets.

    Netherlands

    Capacity-building and advocacy work of the live music sector

    VNPF regularly publishes updates on the economic and administrative measures developed by the Dutch government regarding the COVID-19 crisis.
    >> Access the VNPF website here

    Aid efforts supporting the live music sector

    An emergency package has been announced on Tuesday 17 March. These generic measures can already bring some relief to cultural and creative institutions. In addition, the Minister of Education, Culture and Science will come up with specific measures for the cultural and creative sector.

    Temporary Emergency Relief Measure for Work Retention:

    Employers who face at least 20% expected loss of turnover can apply for a period of 3 months for an allowance in wage costs amounting to a maximum of 90% of the wage bill of permanent employees and employees with a flexible contract insofar as they remain employed during the application period.

    Applications for deferral of payment to the Tax and Customs Administration:

    The Tax and Customs Administration will grant special deferment of payment to all entrepreneurs who have been or will be confronted with liquidity problems as a result of the corona crisis.

    In addition to some general compensation measures for companies in the Netherlands ,  the Dutch government (Ministry of Culture)  also announced some extra measures on Friday the 27th of March, specifically for the cultural sector.  In short summary:

    • Compensation of 90% of venues’ staff costs (fixed personnel costs) based on % of lost turnover in March, April and May)
    • One-off  € 4000 compensation for every company in certain sectors (including music venues) that lost income
    •  Delays in tax payments allowed
    • Easier access to extra loans
    • Emergency income for freelancers for 3 months
    • Commitment that all subsidies will be paid
    • Plan for venues and festivals to be allowed to give vouchers instead of refunds for postponed/cancelled show

    Norway

    Capacity-building and advocacy work of the live music sector

    NKA have put up a resource platform to inform their members of the evolution of the situation in Norway. The platform presents advice to members as well.
    >> Access the NKA COVID-19 resource platform

    Aid efforts supporting the live music sector

    The Norwegian government has suggested a compensation package of approx. 30.000 million € for the whole cultural sector. NKA, our member in Norway, welcomes this package. The loss estimated for the Norvegian cultural / and event industry, consisting of concert organizers and festivals, event organizers, artists, stage technical actors and cinemas alone, is of around NOK 930 million in the period March-April. A recent survey of members of NKA shows that their losses during the same period are approx. NOK 430 million. If this situation persists for the period May-September, NKA estimates a further loss of NOK 2.8 billion for their members. NKA Statement (NO)

    The following measures announced by government and authorities will also support of live music venues, clubs, festivals & other live music organisations and workers:

    Layoff regulations

    • The employer period on layoffs is reduced from 15 to 2 days.
    • Full pay is introduced for a minimum of 20 days from termination, the state covers from days 3 to 20.
    • A scheme is introduced which guarantees people an income of at least 80% of the unemployment benefit.

    VAT regulations

    • The government agrees to postpone the payment of VAT due on April 10, 2020. The Government has also said that the payment of the employer’s contribution due next May (May 15) is postponed.
    • In addition, the low VAT rate is reduced from 12 to 8 per cent. This is a temporary arrangement “for the time being”. The change will take effect from 1 January 2020.

     Adapted schemes for self-employed and freelancers

    • A temporary scheme is introduced for self-employed and freelancers who now lose all or part of their income base as a result of the corona pandemic. They receive compensation where the coverage ratio is about 80% of the average of the last three years’ income. The compensation is covered from the 17th day after the loss of income occurred.

    On the 15th of March, the government decided to establish two loan and guarantee schemes with a total of NOK 100 billion. One is a government loan guarantee for bank loans, especially aimed at small and medium-sized businesses. Companies in crisis should thus more easily obtain the liquidity they need to get through the crisis. The scheme applies to new loans to companies that banks consider to be profitable in the long term. Initially, it will have a limit of NOK 50 billion.

    Spain

    Advocacy work from live music sector

    The Spanish federal live music association ACCES, as part of the federation of Spanish Music (ESMĆŗsica), have released an official statement adressed to the Spanish government. This document states:

    • that priority is given to public health and security
    • ESMĆŗsica supports the measures taken by the local and federal Spanish governments
    • the need for financial support for cultural businesses and SMEs, as stated by the Spanish government and the European Commission
    • that this crisis may damage greatly the survival of the live music sector
    • that ESMĆŗsica stays at the disposition of the government to collaborate in order to make sure that the measures taken are in accordance with the specificities of the sector.

    The live music association for the Catalonian region, ASACC, have issued a statement regarding the negative effects for live music scenes of the measures taken for the COVID-19 crisis. ASACC states the full comprehension and responsability of the Catalonian sector regarding the situation; the live music association asks authorities to put into place the necessary measures to support and sustain the Catalonian live music sector.

    ASACC’s statement on COVID-19 (12/03/2020)

    The live music association for the Basque Country, Kultura Live, have released a statement with the Basque music association Musika Bulegoa. This document raises awareness on the negative effects of the COVID-19 crisis on the Basque music sector, representing over 1600 organisations and 4000 jobs.
    The sectro calls for unity and solidarity and have launched the ZUZENEKO ARTEAK RESET ARTES EN VIVO, defending the sector, organisations and professionals side by side, and organizing to return to business after the crisis in the best possible conditions.
    >> read the statement here (ES)

    Aid efforts supporting the live music sector

    Support measures to be announced on th 18th of March 2020. The Minister of Culture and Sport, JosƩ Manuel Rodrƭguez Uribes, will inform the cultural sector of the measures approved by the Government to support the Spanish economy and society, of which the cultural sector is a fundamental part.

    In Spain, live music venues and clubs are not yet fully recognized as cultural and social actors. We hope that the promised measures will also support the live music sector. Link to press statement (ES)

    Sweden

    Capacity-building work from the live music sector

    The Swedish live music association has launched a resource platform collecting best practice initiatives venues have put into place to minimize the negative impact of COVID-19 on their economy as well as information on national compensation funds and the advocacy work of Svensk Live.
    >> Access Svensk Live’s Coronavirus Resource Platform
    >> Access the Coronavirus: Support Your Local Music Scene initiatives

    Aid efforts supporting the live music sector

    SEK 500 million will be added to the cultural sector in support due to the Corona crisis. The support will benefit among others organizers of events who would have had more than 500 visitors. The Minister of Culture confirmed that events with less than 500 visitors can also be supported.

    This emergency solution also includes freelancers who are not covered by the aid are government authorities.

    Svesnk Live welcomes this effort, which shows that the government and collaborative parties listened to our arguments and understand the major negative consequences cancelled concerts, performances and festivals receive.

    Swedisch government announced following economic support:

    • Central government will compensate municipalities and regions for extraordinary measures and extra costs in health and medical care associated with the COVID-19 virus.
    • To reduce the risk of the virus spreading in society, the qualifying day for sick pay will be discontinued between 11 March and 31 May, in that central government will pay sickness benefit for the first day of sickness.
    • The Public Health Agency of Sweden, the National Board of Health and Welfare and the Medical Products Agency will be allocated additional resources.
    • Resources for the disease carrier’s allowance will be increased, as it is assumed that the number of individuals entitled to this benefit will increase.
    • Central government will temporarily assume responsibility for sick pay for two months.
    • Liquidity reinforcement is given via tax accounts for VAT, employers’ social security contributions and employees’ preliminary tax from 1 January 2020.
    • Short-term layoffs introduced as of 16 March.
    • In addition to the Government’s measures, the Riksbank has announced that it is loaning up to SEK 500 billion to companies via the banks to safeguard credit supply.

    Swedish Government Press statement (EN)

    Switzerland

    Advocacy work from live music sector

    PETZI statement from 08/03/2020 (FR)
    PETZI statement from 08/03/2020 (DE)

    This statement acknowledges the measures taken by Swiss government to avoid the virus’ propagation. Yet, PETZI declares that these measures must be ā€œreasonable and proportionateā€. Their effect must not endanger the existence of a whole part of the cultural sector. PETZI underlines the harm these measure can do especially to small and independent live music venues, clubs and festivals as they often do not have sufficient financial reserves to counter the effects a reduced activity would have.
    PETZI also asks for an harmonization of the cantonal decisions and measures taken in the different parts of Switzerland; authorities are asked to communicate adapted, comprehensible and applicable measures for their members to act within the Swiss legal frame. The Swiss live music association are encouraging the best practice of the Bern and Zurich cantons which provided clear and adapted measures.
    PETZI is pushing the public authorities to put into place:

    • a support fund for cultural institutions, which would be easily accessible;
    • compensation possibilities in case of forced-unemployment or if the venues, clubs or festival’s activities are forced to be cancelled:

    PETZI also asks its government to re-examine the measures should they be prolonged after the 15th of March, and offers public authorities its expertise to implement adapted measures regarding COVID-19 propagation prevention.


    [button url=”https://www.petzi.ch/media/News/91/mm_anhorung_beim_bak_12.03.20_mit_logos_f.pdf”_blank Ā»]Statement from Swiss Cultural organisations, 12/03/2020 (French)[/button]

    [button url=”https://live-dma.eu/wp-content/uploads/2020/03/PETZI_mm_zur_anho__rung_beim_bak_12.03.20.pdf”_blank Ā»]Statement from Swiss Cultural organisations, 12/03/2020 (German)[/button]

    On the 12th of March, PETZI, together with other relevant actors in the cultural and event industry met with the Swiss Federal of Culture in Bern for a hearing. All parties shared the common goal of sustaining the Swiss cultural landscape in its diversity, its sites, its operators and workplaces as well as for the segment of amateur practices. PETZI recommends the government to rapidly take the following measures :

    • Partial unenmployment insurance for independent workers of the cultural sector as well as everyone who cannot benefit from partial unemployment;
    • Simplified access to partial unemployment for every SME of the cultural sector;
    • Compensation for canceled events, including artists’ fees;
    • A solidary emergency fund for artists and cultural businesses whose existence is compromised;
    • The maintaining of public subsidies to the cultural sector and the coordination of actors from the amateur and cultural incentive segment;
    • Finally, that the direct implication of cultural actors in the conception and implementation of concrete measures continues.

    The statement also underlines the great responsabilities taken by the cultural actors to prevent the COVID-19 from spreading, highlighting the cultural sector’s economic and social importance.
    PETZI and the other signatories declares that this crisis situation shows the need and relevance of having an economic and statistic survey of the cultural and events sector, as the sector is asking for decades. Same goes with the precarious working conditions of individual businesses and independent artists who cannot benefit from good social protection.
    The statement concludes that short-term measures need to be implemented in order to limit the impact of this crisis. Lessons should be learned from this situation to improve the conditions of the cultural sector on a midde-term period.

    Aid efforts supporting the live music sector

    On 20 March 2020, the Federal Council approved a package of measures worth CHF 32 billion to mitigate the economic impact of the spread of the coronavirus. Taking into account the measures decided on 13 March, more than CHF 40 billion will be available. The ball is now in Parliament’s court: the Finance Delegation will decide on this at the beginning of next week. The aim of these measures, which are aimed at different target groups, is to safeguard jobs, guarantee wages and support the self-employed. Measures have also been taken in the field of culture and sport to prevent bankruptcies and to cushion the financial consequences. News are expected on Friday, 20th of March.

    Culture: 280 million francs released for immediate aid and compensation for cancellations

    The Federal Council wants to prevent lasting damage to Switzerland’s cultural landscape and to maintain the country’s cultural diversity. Immediate aid and compensation should help to alleviate the economic consequences of the ban on events for the cultural world (performing arts, design, film, visual arts, literature, music and museums). An initial tranche of CHF 280 million will be made available.

    Press release of Federal Council (FR)

    The cultural sector considers the measures adopted by the Federal Council on 20 March 2020 to be appropriate and reasonable for the time being.

    Press statement from the Swiss cultural sector (FR)

    [button url=”https://live-dma.eu/wp-content/uploads/2020/03/200320-Communique-de-presse_DE.pdf” target=”_blank Ā»]PETZI Statement – 20/03/2020 (DE)[/button]

    [button url=”https://live-dma.eu/wp-content/uploads/2020/03/200320-Communique-de-presse_FR.pdf” target=”_blank Ā»]PETZI Statement – 20/03/2020 (FR)[/button]

    [button url=”https://live-dma.eu/wp-content/uploads/2020/03/200320-Communique-de-presse_IT.pdf” target=”_blank Ā»]PETZI Statement – 20/03/2020 (IT)[/button]

    Zurich

    The Zurich government council has issued emergency measures. The canton has secured bank loans to SMEs with 425 million francs. The banks are forming an aid consortium.

    • 15 million in emergency aid is available for the self-employed.
    • CHF 28 million goes to charitable organisations in the fields of culture, social affairs, sport and education.
    • The towns and municipalities are also asked to help, for example with CHF 10 per inhabitant. This would amount to around 15 million francs.
    • 8000 Zurich companies have registered short-time work so far.

    Turkey

    IKSV have released a policy paper entitled The Uniting Power of Arts and Needs of the Cultural Field during the Pandemic. This paper presents the importance of solidarity and support to the arts during the pandemic, as well as highlighting the wellness and awareness that the arts can bring to people.

    The paper also provides an overview of the support mechanisms that have been introduced in the world and in Turkey before developping on the complementary measures that should be taken for the Turkish cultural field.

    CONTENTS OF THE PAPER

    1. BUILDING SOLIDARITY IN THE CULTURAL FIELD DURINGTHE PANDEMIC
    2. WHAT KIND OF SUPPORT MECHANISMS HAVE BEEN INTRODUCED IN CREATIVE INDUSTRIES IN THE WORLD?
      a) Loans, funds and compensations designed for the field of culture and arts as well as creative industries
      b) Facilities, loans and funds for independent artists, designers and cultural workers
      c) Supports for artistic production under conditions of social distancing
      d) Knowledge sharing and advocacy in the arts and cultural sector and creative industries
    3. WHAT IS THE CURRENT STATE OF PUBLIC SUPPORTS FOR THE CULTURAL FIELD IN TURKEY?
    4. WHICH MEASURES SHOULD BE TAKEN FOR THE CULTURAL FIELD IN TURKEY?

    [button url=”https://www.iksv.org/i/assets/iksv/documents/The_Uniting_Power_Of_Arts_And_Needs_Of_The_Cultural_Field_During_The_Pandemic.pdf” target=”_blank Ā»]Read IKSV’s Policy Paper (in English)[/button]

    UK

    Advocacy work from live music sector

    On the 17th of March 2020, Music Venue Trust wrote an open letter to the British Prime Minister Boris Johnson to call on the government’s lack of resolution to officially close all grassroots venues while the British Public Health recommended the public to not visit social gathering places. This puts the British grassroots venues in great danger as it prevents them from benefitting from insurance and compensation.
    Music Venue Trust have proposed a solution to find some funds to save grasroots music venues:
    “We want to propose a simple solution and give you that choice: Cancel the 2022 Festival of Great Britain.
    The government has committed Ā£120 million to delivering an event that no one in the public has demanded, and many sectors of the public simply do not want. It has little backing in the cultural and creative industries and is neither urgent nor necessary. The entire Grassroots Music Venue sector can be mothballed for eight weeks and saved permanently for just one third of the money you have already allocated to this single event. With the remaining Ā£80 million we would strongly urge you to create a Cultural Sector Hardship Relief Fund. That fund could take action on grassroots theatres, arts centres, community pubs, any space that is a vital hub of culture and social interaction in our communities.”
    >> Read the full open letter here.


    Music Venue Trust have also released a resource article sharing some advice for venues and the support schemes put into place by the UK government.
    >> Read the resource here.


    On the 30th of March, Music Venue Trust called on the music industry, cultural sector and the UK’s most successful musicians to come together to create a Ā£1 million fighting fund to prevent the permanent closure of hundreds of Grassroots Music Venues across the UK. They have launched the Grassroots Music Venues Crisis Fund.
    “Despite Government action, over 550 Grassroots Music Venues remain under immediate threat of closure, representing the potential permanent loss of over 5,000 jobs, over 100,000 concerts, over 300,000 performances by musicians, and over 1 million temporary employment opportunities for gig economy workers.”
    >> Access the Grasroots Music Venues Crisis Fund

    With the first big donations, Music Venue Trust was able to Open the Grassroots Music Venue Crisis Service, a personalised help and support for endangered venues. MVT have gathered experts which will provide robust and clear legal, planning, tenancy, licensing, rent and mortgage advice to help halt individual threats of closure posed by COVID-19. This service applies also to the Music Venues Alliance, the local antennas of Music Venue Trust accross the UK.
    >> Access the Grassroots Music Venues Crisis Service


    Music Venue Trust have also written an open letter to Boris Johnson, urging him to cancel the Festival of Britain 2022 and divert funds to grassroots venues.
    > Read the open letter (opens in a new tab)”>>> Read the open letter

    Aid efforts supporting the live music sector

    Music Venue Trust regularly updates the support measures announced by the UK government and authorities in England, Scotland, Wales, and Northern Ireland here.

    • Statutory Sick Pay
    • Business Rates Reliefs
    • Small Business Grant Funding
    • Time to Pay
    • Coronavirus Business Interruption Loan Scheme
    • Mortgage Relief
    • Insurance

    The Arts Council of England announced their support measures for people working in the arts. You can read their latest updates here.


  • CALL FOR MEMBERS – THE HUBS

    Event date : 20 May 2025
    Event organizer :

    Description of the call

    Live Style Europe III (LSE III) is designed to strengthen our network and empower the live music sector through collaborative initiatives, with HUBS playing a key role. HUBS are dedicated peer-learning groups that bring together Live DMA members with shared challenges, allowing them to exchange expertise, develop joint solutions, and implement concrete actions. Through this initiative, members will receive financial support to facilitate staff exchanges, training sessions, and collaborative projects tailored to their specific needs. The goal is to strengthen transnational cooperation, and potentially create scalable solutions that benefit the entire network. By participating in HUBS, you actively contribute to shaping the future of live music in Europe, reinforcing our collective resilience, and ensuring a diverse and thriving sector.

    Objectives

    • Foster collaborations and exchanges of the Live DMA members on shared challenges or priorities, that are specific to some countries or regions or other specific trans-national challenges.
    • Enhance and improve the synergies between the Live DMA members through smaller networking groups with facilitated access (e.g. no language barrier, geographical proximity, similar business models or public policy schemes)

    Deadline

    • The call for hubs opens on 1st June 2025
    • Deadline for submission: 15th November 2025

    APPLICATION FORM
    FULL CALL DETAILS
    BUDGET TEMPLATE

  • JOB OFFER: COMMUNICATION OFFICER

    Event date : 5 May 2025
    Event organizer :

    Position: Part-time (28 hours/week)
    Location: Live DMA Office in Nantes (France)
    Remote work: Possible, with occasional presence in Nantes (to be discussed during interviews)
    Contract type: Permanent contract (CDI)
    Start date: 01/09/2025

    About Live DMA

    Live DMA is a European network for music venues, clubs, and festivals. It brings together 20 members (regional or national associations/federations) across 16 countries, representing more than 3,200 live music scenes. Our mission is to strengthen and connect the live music sector in Europe through cooperation, knowledge-sharing, and advocacy.
    Live DMA supports professionals in the sector via the ā€œLive Style Europeā€ (LSE) programme (2017–2028), co-funded by the Creative Europe programme of the European Union. In addition to LSE, Live DMA is engaged in other European cooperation projects (Creative Europe, Music Moves Europe, Horizon Europe) to support the resilience and innovation of live music scenes.
    Note: Live DMA does not organise concerts or operate as a music programmer.

    About the Position

    We are looking for a Communication Officer to lead and implement Live DMA’s communication strategy. This role plays a key part in raising the visibility of Live DMA’s mission, activities, and values (inclusion, sustainability, artistic diversity) across Europe.
    You will be responsible for creating content and narratives, adapting visuals, managing digital platforms, coordinating internal communication within our network, and communicating externally about our activities, publications, and delivering advocacy message towards policy makers. The ideal candidate is open-minded, has excellent writing skills in English, a strategic mindset, and a collaborative spirit. A deep interest in music is highly desirable.
    You will work closely with the office team, members and external collaborators.

    Key Responsibilities

    • Communication Strategy & Messaging
      Manage and develop Live DMA’s overall communication strategy, ensuring consistent messaging and visual identity across all channels. Coordinate tasks with external collaborators (web developers, graphic designers, translators). Monitor and report the communication’s reach with specific indicators. 
    • Content Creation
      Draft press releases, newsletters, presentations and social media content. Prepare press kits and materials that clearly express Live DMA’s work and values.
    • Policy & Public Relations
      Build and maintain relationships with policy makers in relationship with the colleagues in charge of advocacy. Regularly update the contacts database and ensure strategic visibility of Live DMA in relevant European and cultural media outlets.
    • Digital Communications
      Manage website updates (WordPress), social media platforms, newsletters (Mailchimp), and CRM tools to increase digital engagement and reach.
    • Activities & publications’ Communication
      Support and promote Live DMA activities (online and in-person events) and publications with tailored communication strategies that reflect the organisation’s tone and mission.
    • Internal Communications
      Improve internal information sharing and engage members in the network

    Required Knowledge and Skills

    • University degree in Communications, Culture , Public Relations, European Affairs, or related fields
    • Minimum 4 years of experience in communication roles, preferably in the non-profit or cultural sector
    • Strong interest in Europe’s cultural landscape, especially in the music field
    • Excellent written and spoken English; proven copywriting and editing skills
    • Experience with project coordination and campaign management
    • Familiarity with EU institutions and policies, especially Creative Europe, Horizon Europe, Erasmus+, etc.
    • Comfortable using CMS tools (e.g. WordPress), CRM platforms, and email campaign tools (e.g. Mailchimp)
    • Highly organised, detail-oriented, and able to manage multiple priorities
    • Collaborative attitude and ability to work independently in a small team

    Bonus Skills (Assets)

    • Graphic design skills (Adobe Creative Suite, Canva)
    • Fluency in other European languages
    • Experience managing communications for EU-funded projects

    What We Offer

    • A meaningful position at the heart of Europe’s independent music ecosystem
    • Flexible working conditions and autonomy in a collaborative environment
    • Possibility to work remotely (to be discussed in interviews)
    • A human-size, multicultural, and mission-driven team
    • Participation in international events and networking opportunities

    Contract Conditions

    This position can be offered in two formats, depending on the selected candidate’s status and preference:

    Option 1: French Employment Contract (CDI – Part-time, 80%)

    • Contract type: Permanent contract (CDI under French labour law)
    • Working time: 28 hours/week (80% position)
    • Gross monthly salary: €2,000/month (based on Group F – Coef 350 of the ECLAT collective agreement – IDCC 1518)
    • Trial period: 2 months
    • Benefits (for employees based in France):
      – Company health insurance
      – Luncheon vouchers
      – Partial reimbursement of public transport and soft mobility expenses
      – The position includes 25 days of paid annual leave and 10 additional days off, in accordance with French labour law and internal agreements.

    Option 2: Freelance Contract

    • Monthly fee: €2,650 (all taxes included and for the same work time commitment: 28 hours/week)
    • No additional employment benefits included
    • The freelancer must be available during standard office hours (Monday to Friday, approximately 9:00–18:00 CET) to ensure coordination with the team and project partners.
    • Suitable for candidates operating as registered freelancers within the EU

    Please indicate your preferred contract option in your application.

    How to Apply

    • Deadline: 10 June 2025
    • Interviews: Scheduled between 24 and 30 June 2025
    • Start date: 1 September 2025
    • To apply:
      Please send the following documents, in English and in PDF format to job@live-dma.eu, addressed to Audrey GUERRE, Coordinator:
      – A Curriculum Vitae (max. 2 pages)
      – A motivation letter (make sure to mention your preferred contract option)
      Ā 
  • The Music Puzzle: exploring booking practices in Europe

    Event date : 29 February 2024
    Event organizer :

    This Live DMA research first explores the individual journeys behind the profession, tackling the musical, educational and professional paths of the bookers now on the job, before investigating their daily tasks: how do they operate their booking choices? Where do they get inspiration from? What kind of tools do they mobilize? What are the ups and downs of their current position?

    Based on the preliminary insights provided by this research process, Live DMA now aims to initiate fruitful exchanges regarding the futures endeavours of this study. Contact our Research Officer LƩna Lozano to set up a workshop or a presentation on the subject! Email her at lena.lozano@live-dma.eu

    FEEDBACK BOX

    We would now like to build the future endeavours of this research with you! This place is for you to share your feedback, insights, hopes, wishes, needs, ideas, plans… with us, regarding booking practices. What did you think of the study? What would be an interesting follow-up? What would be useful to you?

    Feedback – Study on Booking Practices in Europe
    You are…

  • Green Mobility: initiatives from the live music sector

    Event date : 13 February 2024
    Event organizer :

    In order to better understand a live music event’s carbon emission, and to take action upon it, many organisations have started to measure their carbon footprint. These researches led to interesting results, notably that the most carbon-emitting poles of organising an event are the travels, first of audiences as well as those of artists, especially when they come from far away.Ā 

    Still, mobility choices and routes are decided by the artists themselves and not left to be decided by the venues/festivals. It is thus the artists who have control over sustainable modes of travel, slower mobility, and other choices that are therefore not part of the artists’ fee or negotiation.

    This article presents a bunch of initiatives aiming at reducing carbon emissions regarding mobility: of artists, audiences and cultural workers. Each section presents one initiative in detail, and highlights more succinctly other initiatives.

    REDUCE CARBON EMISSIONS FOR ARTISTIC MOBILITY

    The mobility of artists, regardless what region of the world they come from and go to, is a key component to cultural exchanges and music discovery. It is time for the live music sector to reflect on current practices that complexify setting-up eco-friendly music events:

    • clause of exclusivity on some artists’ contract (which prevents them to play in another music event geographically close to the one they have signed the contract for, during a certain period of time)
    • lack of collaboration between live music organisations to make intelligent and coherent touring routes
    • cheaper plane tickets compared to other more sustainable means of transportation
    • difficulties to travel with big instruments on some train lines… 

    Such practices should be acted upon in order to create a live music ecosystem which is taking better care of the planet.

    Focus on… Le PĆ©riscope (FR): carbon budgeting for international artists touring

    Le PƩriscope is situated in Lyon (France). They are involved in Footprints: an EU funded project about how to make music more sustainable across Europe. As part of Footprints, the team worked on a carbon budget.

    A carbon budget is an excel sheet, and it works the same as a financial budget, but CO2 tons replaces euros. Indeed, the results of the carbon footprint of Le PĆ©riscope demonstrated that most of their impact was on artists’ mobility. Indeed, the venue is based in a city centre with public transport and very expensive car parks, so the audience mobility was less important. The objective of Le Periscope is to reduce by 30% their artistic mobility impact until 2030. Each year, they will reduce it by 3%.

    The carbon budget is a simple tool. When adding the dates, the number of people travelling with their transport mode and where they come from, the calculation starts. The most difficult indicator was to decide ā€œwhich part of the touring relies on Le Periscope?ā€ For example: if a band organises a European tour from Australia: the venue could have only counted their impact between the previous (Paris) and next (Geneva) dates, but they decided to calculate the total impact of the tour of each band and divide it by the number of dates they have.

    Periscope, Lyon (FR)

    In that sense, it is still ā€œpossibleā€ to book international bands, but the bookers will have to work more closely with each other to add touring dates in order to reduce the carbon impact of each date, and develop more residencies and local actions. One of the main focus of Le PĆ©riscope relies on innovative music and international booking, so the idea is not to transform their programming, but to challenge it. So far, the changes cost more money to Le PĆ©riscope because booking train tickets rather than flight tickets is more expensive; but they can use their data to apply to more public funding. But that’s also the condition to stay relevant in the future, not lose credibility and audience.

    Le PĆ©riscope was also involved in the mutualisation of a tour of American band Dave Rempis Percussion Quartet, which only had one date in Le Petit Faucheux venue in Tours, France. Le Petit Faucheux launched a call to other jazz venues in France in order to find other dates for the band to perform in the country, thus making this international artist’s tour more climate friendly and efficient.

    READ THE ARTICLE (FR)
    CARBON BUDGETING EXCEL EXAMPLE

    Other initiatives on artistic mobility:

    • Le Collectif des Festival’s booking cooperation strategies on Artistic Short Circuits
    • VEGA in Denmark have a no fly-in policy for the artists they welcome on stage. Read more about it here.
    • ESNS festival in the Netherlands launched their ā€˜Green Touring Supportā€˜, which encouraged artists who played at their 2022 festival to take the train by covering the financial gap between their normal plans and their sustainable travel plans.
    • The European Jazz Network presents their Green Pilot Tour project: a tour of an artistic project/band between at least four different venues or festivals and involving at least two EJN members which focuses on innovative touring models based on the principles of sustainable touring and fair and balanced practices in the music sector.
    • On The Move released a Green Mobility Guide for the Performing Arts sector
    • The Green Touring Guide wishes to point out possibilities and tools for reducing the carbon footprint of a tour and how this can be communicated without being suspected of ā€œgreenwashingā€.
    • Ecolibrium is a sustainable travel guide for artists.
    • The information platform Touring Artists offers a section on Green Mobility
    • The Green Tour Guide offers tips on sustainable touring for Norwegian music sector

    REDUCE IMPACT OF AUDIENCE MOBILITY

    A live music event is, first and foremost, the encounter between a musical work and an audience. Because these moments of intensity and sharing have, and give, meaning, the idea is not to impeach such encounters. The goal is even to make them more accessible to everyone, regardless of where they live. Still, a change is needed in how we conceive and give access to such events so as they do not have a negative impact on our planet. Because, if there was no music event, the audience wouldn’t be there, the impact of audience travels relies on the concert organiser. It is important for concert organisers to think of sustainability as well as audience safety, accessibility and inclusion when looking into decisions regarding audience travel.

    Focus on… Julie’s Bicycle Report “From Carbon Footprints to Cultural Influence: Engaging Audiences on Travel Choices”

    Julie Bicycle released a report displaying 5 recommendations for positively influencing audience travel choices. These recommendations, and the report, were also based on a case study developed at UK-based Shambala festival, where the recommendations could be tested through interviews with festival goers, to see if they would be open to the ideas in the report. 

    The report provides insightful ideas that festivals can implement to incite audiences to change their attitudes and choices when going to a music event. Still, the report does not overlook the barriers and discrimination that implementing sustainable travel choices can entail.Ā 

    The recommendations of the report are the following:

    1. Audiences can be powerful agents of change: Invite audiences to be part of demanding the wider changes needed to break the impasses many events face around travel infrastructure
    2. Focus on collective efficacy/agency (what ā€˜we’ can do; the combined impact ā€˜we’ can have) and solutions-focused frames so that travel decisions are active/positive choices, not sacrifices or inconveniences: don’t apologise for inviting audiences to be part of positive change
    3. Find and amplify human stories that ā€˜show the change’ rather than focusing on facts and figures. What are the audience values that you can use to frame climate communications for them?
    4. Focus on fairness and feasibility: When people perceive a climate policy or a behavioural ā€˜ask’ to be fair, they are much more likely to support it.
    5. Build on the cultural credibility of live events to encourage ā€˜legacy impacts’: Well-liked live events, with a clear sense of identity and loyal audiences have the cultural credibility to encourage audiences to make wider change in their travel choices, not just around live music.
    READ THE REPORT

    Other initiatives on audience mobility:

    • Study Boomtown which calculated that audience mobility is the biggest factor of emissions at their festival.
    • To help music organisations calculate their audience mobility carbon-emissions, you can use Crowdimpact.
    • The venue L’AĆ©ronef in Lille (FR) has developed Aero Easy Go, a webpage inciting their audiences to come to the concerts via sustainable travel options. From reduced train tickets to areas to find people to carpool, co-bike or co-walk together to bike-repair services, they thought of everything! Read an interview about the initiative here.
    • The venue Ancienne Belgique in Brussels has a strict policy to end concerts at 22:30, so people can still return home after the concert by train. The audience even gets a reduced train ticket when having a concert ticket. More info here.
    • When it’s not possible to go by bike or public transport to a show because you live in a remote and rural area… the concert comes to you! As seen in the project La TournĆ©e des refuges, which organises artists touring by walking in the mountains, or with the project Sound River System, which organises artistic residencies and concerts on a boat, sailing from city to city.
    • ESNS Festival collaborates with Choo-Choo for train travel delegates, to help them find sustainable travel options to go to the festival.
    • Many organisations have focused on promoting carpooling to travel to music events, such as Ecopassenger or Eurostop carpool in Belgium. 
    • And because music events are also places to display other ways of seeing the world and living in it, we are fond of these projects by Dour festival and Les 4 Ecluses venue, which organise bicycle rides to either discover the surrounding area or listen to a concert in-between two pedal strokes.

    REDUCE IMPACT OF STAFF & CULTURAL WORKERS

    Because some of our readers may be working for organisations involved in the European level, we could not refrain from sharing this sustainable travel decision tool created by On The Move, which helps European organisations design their sustainable travel policy.

    SUSTANABLE TRAVEL DECISION TOOL
  • Livestreaming: opportunities and challenges for the live music sector

    Event date : 7 November 2023
    Event organizer :

    Live DMA prepared these thematic resource sheets so as to give some keys to live music actors on the opportunities, challenges and current questioning of livestreaming practices.

    After COVID and the restrictions on live music events, a rise in livestreamed concerts could be noticed. This phenomenon was also pushed by some public funding bodies, which put “livestreaming” or “digitalisation” as priorities in their calls for project funding.

    What is livestreaming, exactly? How are the live music sector and the live video production sector intertwined (or not) together? Are livestreamings profitable? Do they change the relationship between audiences and artists? These are the questions we tried to answer in this resource.

    This resource does not give fixed and definitive answers to the question above, but rather gives preliminary investigations, as well as giving staple academic papers on the subject, so that readers can form their own conclusions.

    This document aims to give a definition of what can be considered a livestreaming, what are hybrid events and what are the main differences with live concerts.

    READ

    This document aims to give keys to think about the new interactions between audiences, artists and venues that livestreamings can offer.

    READ

    This document aims at providing info on the various business models of livestreaming, as well as on the profitability of these models.

    READ

    This document navigates the video production sector and the live music sector in terms of skills needed and possibilities of cooperation.

    READ

    Discover IDEAS, a professional live-streaming training for sound engineers!

    IDEAS WEBSITE

    This document aims at providing keys on the regulatory framework of livestreaming.

    READ

  • SUBSCRIBE TO THE DIGITAL SAFARIS ON SUSTAINABILITY NEWSLETTER

    Event date : 22 September 2023
    Event organizer :

    S’abonner

    * indicates required

  • Carbon Offsetting for Music Festivals: What’s Up With That?

    Event date : 19 July 2023
    Event organizer :

    Carbon offsetting has been seen as a solution for many companies, including festivals, to compensate for their carbon emissions and reach carbon neutrality. This article aims to investigate this trend and provide the keys to a good and virtuous use of carbon offsetting, and more particularly carbon sequestration through the planting of trees.

    Definitions

    Carbon market: the Kyoto Protocol (1997) and Paris Agreement (2015), two international conventions on climate change, have set up precise targets to be reached in terms of decrease of carbon emissions (become carbon neutral by 2050), for both governments and companies, as well as the regulation to reach these targets. The carbon markets are one of these regulations: it allows investors and corporations to trade both carbon credits and carbon offsets simultaneously.

    Carbon offsetting: the action or process of compensating for carbon dioxide emissions arising from industrial or other human activity, by participating in schemes designed to make equivalent reductions of carbon dioxide in the atmosphere. The most common carbon offsetting action, and the one we will investigate in this article, is the planting of trees to restore areas suffering from deforestation. But, carbon offsetting can take many other forms: optimization of flight paths, energy efficiency, use of renewable energy, waste management… 

    Carbon credit: governments or companies can take a carbon credit when there are some unavoidable carbon emissions they have to make. Companies and individuals can account for their unavoidable emissions by buying carbon credits from certified activities that support community development, protect ecosystems or install efficient technology to reduce or remove emissions from the atmosphere.

    Carbon sequestration: it is one of the carbon offsets that exist. It consists of planting and growing trees to restore deforested areas, because trees absorb CO2 present in the atmosphere (thus helping restore balance with carbon emissions from human activities). A tree absorbs only once it is mature, and that can take between 10 and 40 years, depending on the species. Carbon sequestration is a long-term process before it can be effective.

    Carbon removal: carbon removal is the process of removing carbon dioxide from the atmosphere and locking it away for decades, centuries, or millennia. This could slow, limit, or even reverse climate change — but it is not a substitute for cutting greenhouse gas emissions.

    Tomorrowland Festival: a tree hiding a forest of consumerism

    Tomorrowland Festival is a large-scale electronic dance music event of 600 000 attendees with a huge international line-up taking place in Belgium. The festival, owned by SFX Entertainment, has 26 sponsors including Pepsi, Budweiser and Brussels Airlines and the event has declinations in Brazil and French ski station l’Alpe d’Huez. Known for its extravagant scenography, the festival has become one of the biggest festivals in Belgium, attracting thousands of international visitors and hundreds of international artists.

    Can a festival of this size be carbon neutral and have a positive impact on the environment?  Many voices have raised their concerns regarding the ecological impact of this massive event: either for the summer festival in Belgium or for the winter edition in Alpe d’Huez. These criticisms highlight the unsustainable practices of the festival (no cultural value given back to the territory of the festivals’ sites or their inhabitants, disposable plastic everywhere, marketing techniques which incite over-consumption and international audience mobility…). For example, since this summer, the Belgian festivals are forced to serve drinks in reusable cups, PET bottles and cans. Yet, the four biggest Belgian festivals, including Tomorrowland, requested an exemption to this new rule, stating that they were not logistically ready for it, as explained in this article.

    Picture from Tomorrowland festival 2018 Ā© Rights reserved

    Still, Tomorrowland Festival recently launched the ā€œTomorrowland Forestā€, their carbon offsetting action. For this, the festival partnered up with Mastercard and developed an app, with which you can make purchases on the festival site. Every ten purchases (with a minimum of €5), a tree is planted in a mangrove in Madagascar, in partnership with Eden Reforestation Projects. A way of lowering the festival’s’ impact by inciting audiences to buy loads of merchandising or beers in plastic cups. The audiences’ behaviour is rewarded by a sense of saving the planet.

    As said in the introduction, the planting of trees for the purpose of carbon sequestration, restoring areas suffering from deforestation, and consequently, lowering a company’s carbon emissions, is a long term process. Carbon offsetting, in order to be valuable and effective, needs to come hand in hand with real changes to reducing a company’s emissions. Carbon offsetting is not a tool to balance the CO2 emission of a company: the question of compensation embedded in the notion of carbon offsetting needs to be redefined. It’s not so much about compensating a company’s emissions as it is about doing more for carbon neutrality, contributing even more to the collective efforts required to save the planet and its ecosystems.

    With that in mind, what other actions can a festival of Tomorrowland’s size implement to lower its carbon emissions? Tomorrowland do host a conference every year about sustainability, the Love Tomorrow conference, which aims to drive positive change and promote sustainability within the festival and the wider community. The festival also made some efforts regarding waste and water management, local sourcing of food, renewable energy and audience travel (by organising shuttles from cities to the festivals and promoting carpooling). Yet, all research shows that the live music industry’s biggest carbon emission pole is audience travel (ā€œAudience festival travel emits 11 times more climate pollution than waste does,ā€ says Kimberly Nicholas, professor and sustainability scientist at Sweden’s Lund University.) Given the international audience of Tomorrowland, and the number of people attending the festival – Tomorrowland even hosting party-flights, in partnership with Brussels Airlines – one can only see some contradictions in the festival’s sustainable policy.

    Still, one may wonder if these initiatives are enough to lower the festivals’ impact, and on other aspects, Tomorrowland stand behind other festivals in terms of sustainable initiatives, and does not align with the concerns and expectations of its generation (e.g. the exemption for them to serve drinks in single-use cups).  This, at a time where other festivals in Europe are reducing their capacity in order to host human-sized and planet-friendly events.

    If not combined with more actions on site and a better transparency on the festivals’ actual carbon footprint, carbon offsetting can be seen as greenwashing. However, does that mean that all carbon offsetting initiatives in the music sector are in fact greenwashing?

    European Festival Forest: Festivals cooperating for the canopy

    The European Festival Forest is a cooperation project between 12 festivals in Europe which work together on a carbon sequestration project: plant 2500 trees per hectare in Iceland. The festivals work together with the Icelandic Forest Service to plant trees in a region where there were none for a long time, because of previous deforestation from settlers and because of the climate. Now that the climate has changed in Iceland, trees will be able to grow back.

    This project, which is ā€œa long-term project intended to run for centuriesā€, is financed by the festival audiences, who can donate €2 to plant one tree. These festivals intend to work together towards carbon-neutrality.

    This promising project, in addition to the festivals’ own actions to reduce their carbon footprint, allows festivals to cooperate together towards carbon-neutrality. The Forest will have an impact on European territory, and we can only hope that the European Festival Forest will grow big and strong.

    The European Festivals Forest being planted Ā© RĆ”n PĆ©turs Bjargardóttir
    INTERVIEW WITH ESTHER DE SOOMER FROM WALDEN FESTIVAL (BE) ON THEIR CARBON OFFSETTING ACTIONS & THE EUROPEAN FESTIVALS FOREST

    Walden festival develops a lot of sustainable initiatives (local & vegetarian food, sustainable waste management, programming of local artists to avoid travel emissions, etc). Why have you chosen to engage in a carbon offsetting action (planting trees) ?

    We think it’s important to try to reduce any negative impact we might have on the environment as much as possible. But we’re well aware that there will always be an impact. That’s why we chose to do our share and invest in carbon offsetting action. But there’s more: planting trees or contributing to a greener environment is a very visible and concrete action that helps us communicate about the importance of positive change. That’s important to us: not only doing our share, but inspiring and motivating our audiences, crew and artists to do what they can as well. That generates an even bigger impact.


    Can you describe this action, its partners, timeframe, and everything we need to know to understand why and how this action ?


    In the 2022 edition of our festival, we invested in the European Festivals Forest. That’s a newly planted forest in Iceland, using funding from music, theatre and arts festivals across Europe. Walden Festival was one of the founding partners in the pilot year of the forest. For every booking for our festival, 2 euro was invested in the European Festivals Forest, which is the amount needed for 1 tree. With Walden Festival, we funded 419 trees, planted in spring 2023, by which we offsetted 125,7 tonnes of CO2 emissions. In total, 2828 have been planted in 2023 thanks to the combined efforts of arts festivals across Europe.

    You were part of the European Festival Forest project before shifting to your own, in partnership with BOS+. What added value do you see with this new project, compared to the last one ?

    We think the European Festivals Forest is a great initiative both to offset carbon emissions and to raise awareness. At the same time, Walden Festival is a locally rooted initiative in the heart of Brussels. We find it important to maintain a strong connection to local communities. That’s why we decided to support a different, more local initiative for our 2023 edition instead of planting trees abroad. We reached out to BOS+, an organisation that has a lot of expertise in forestation projects locally and globally. Together, we decided on a local project that doesn’t only contribute to a greener environment, but has a social goal as well. Thanks to our audience donations, we invest in an inclusion project from three Brussels-based youth centres to connect young people in and through a greener environment. BOS+ trains volunteers from the Brussels youth centres to deliver nature workshops. This means that workshops of this kind are given a permanent place in the youth centres’ programmes. But that’s not all. Under the leadership of BOS+ the youngsters implement greening initiatives in the immediate surroundings of their youth centres. This direct planting has a big impact: the youngsters are given ownership of their neighbourhood, which visibly improves as a result. With this project, it’s harder to know exactly how much carbon we’re actually offsetting than with the European Festivals Forest. But we are convinced that while its effects might be more difficult to express in numbers, the long-term impact will be big: by empowering youngsters, changing neighbourhoods for the better, inspiring locals and visitors.


    Carbon offsetting, and notably planting trees for carbon sequestration, is sometimes used as greenwashing by big companies or big festivals. How do you, at Walden festival, make sure you have a virtuous impact on the planet and its ecosystems with your carbon offsetting action ?

    It’s key to be honest about what you do. For instance, we haven’t (yet) done a CO2 assessment, since that’s a very thorough exercise and we’re a very small festival. We would love to work towards that in the future, but in the meantime, we will not make any claims about ‘Net Zero’, because we haven’t got the data to back that up. But that doesn’t mean that we should wait on that information to invest in carbon offsetting action. Planting trees and contributing to a greener environment is always a good idea. Every year, we do the best we can, knowing there is always room to learn, to grow and to become a more sustainable festival. 

    You can visit the website of Walden Festival here.

    Let’s now turn to a small venue but with a big and virtuous impact on the planet, the first venue who will become carbon-positive in a few years, once their forest grows.

    4AD Muziekclub: the first live music venue who will become carbon-positive?

    4AD Muziekclub is a 250 capacity venue located in Diksmuide, BE and active since 1988. Sustainability has been anchored in their DNA since the very beginning, and they have set up environmental-friendly practices for several decades now. On this note, we warmly recommend that you have a look at 4AD’s Digital Safari to learn more on all the great sustainable actions they put in place!

    Still, despite their efforts, when 4AD did their carbon footprint in 2016, they realised that they still emitted 66 tons of CO2 every year, 90% of it coming from the mobility of audiences, as the venue is located in a rural area with no public transport. That is why 4AD decided to plant 16,5 acres of forest in the direct vicinity of the 4AD Muziekclub: to compensate for their emissions and, in the long-term, even be carbon-positive, that is, go beyond carbon-neutrality and sequester more CO2 than they emit.

    The plantation of the 4AD forest started in February 2016. The forest will take 40 years to grow and be able to sequester CO2. The idea of a forest to compensate for the venue’s carbon emissions is not only eye-catching, as it raises awareness on climate change, but is also a way for the venue to do something about the deplorable forest situation in the Flanders region. Indeed, in this region, trees represent only 12% of the total surface of the territory (compared to the average of 43% in other European regions).

    Volunteers planting the 4AD Forest near the venue Ā© 4AD Muziekclub

    The 4AD Muziekclub team worked with external consultants and partnered with nature conservatory organisations to plant this forest. The venue paid for the tree seedlings and the organisation bought the land in which the forest was planted. To find this money, 4AD launched a crowdfunding campaign, so that people close to the venue could engage in this project virtuous for the local community. The venue relied on volunteers to plant the trees, transforming this action beneficial for the planet into a moment of socialising and community-building.

    The venue team first did all they could to lower their impact on the planet, and decided after that to engage in a carbon offsetting project. Their forest has an impact on the local territory in which the venue thrives, and they could involve local communities to take part in it. Of course, the 4AD Forest still needs to grow, and forests are not immune to natural hazards (fires, strong winds, diseases, etc), but we can hope that the forest will be healthy and will soon allow 4AD to become the first ever carbon-positive live music venue in the world.

    Conclusion take-away tips

    • Carbon offsetting does not replace reducing an organisation’s own emissions. If carbon offsetting is the only sustainable action of an organisation, then it consists in greenwashing. 
    • We should change the paradigm when thinking of carbon offsetting actions. It’s not about compensating one’s own emission, but more about contributing to collective efforts to improve our planet’s health.
    • Carbon offsetting actions, and notably planting of trees, if done in the local territory with local communities can also have great social and community values.
    • Beware of what partner you chose to roll out carbon offsetting, as some companies specialised in reforestation sell promises and don’t have such a great impact on the planet as they say. See here for more details.
    About “carbon-removal”…

    You may have recently heard about the O2 Arena in London which will host the world’s first Carbon-Removal gig as part of The 1975’s tour. In order to do so, the O2 will use Direct Air Capture technology, which is “a process that sees air blown through machines that remove CO2 from the air and store it underground”.

    We would like to emphasize, once again, that priority should be on reducing emissions before relying on this technology. The risk being big organisations who can afford these costly technologies might postpone emission reduction under the notion that it will be possible to fix the problem later.

    Direct Air Capture is part of geo-engineering solutions, and the European Union recently called for international talks on how to potentially govern geoengineering efforts, as well as ā€œsupportā€ efforts to better understand the risks such experiments could pose.

    Sources:

    • Stop Saying Carbon Offset: from Offsetting to Contributing – Carbon 4
    • Not-So Eco-Friendly Music Festivals Can Still Use Disposable Cups – The Brussels Time
    • Tomorrowland, une catastrophe Ć©cologique – La Libre
    • 2023, Dernier Tomorrowland Ć  l’Alpe d’Huez – Extinction Rebellion
    • Brussels Airlines Unites the World Again at Tomorrowland
    • Sex, Drugs and… Sustainability? Music Festivals Struggle to Go Green – POLITICO
    • The European Festivals Forest
    • Muziekclub 4AD’s Digital Safari
    • Muziekclub 4AD, a Live Music Venue with Sustainable Practices & Philsophy – Live DMA
    • Revealed: more than 90% of rainforest carbon offsets by biggest certifier are worthless, analysis shows – The Guardian
    • O2 to host world’s first carbon-removal gigs with The 1975
    • The 1975 set to headline world’s first ‘carbon-removed’ concert at O2 Arena in London
    • The EU wants to crack down on rogue efforts to alter the atmosphere

  • WORLD HEALTH ORGANISATION ON SAFE LISTENING GUIDELINES

    Event date : 21 February 2023
    Event organizer :
    2018

    The WHO releases the Environmental Noise Guidelines for the European region

    ā€œThe 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 noise in this context refers to all noise sources that people are exposed to due to leisure activities, such as attending nightclubs, pubs, fitness classes, live sporting events, concerts or live music venues and listening to loud music through personal listening devices.”

    The WHO recommendations are released at international level to provide advise and guidance for health ministries at national level.

    Extract from the Environmental Noise Guidelines for the European region

    2019

    Live DMA members form a working group, and release a White Paper Ā« Music is not Noise Ā»

    ā€Policy makers and the live music sector need to collaborate as equal partners in order to produce good live music policies and shouldset up formal and informal platforms to enable this exchange.

    “Moreover, music is not only leisure or entertainment. Music is a cultural activity and is imbued with meaning. Music is understood to be a social construct, and its associated activities and rituals, including dance and storytelling, have greater value than leisure alone.ā€

    Other resources came out from this Working Group, such as the article on Sound Regulations in Europe.

    2020

    18th/19th February in Geneva: Invitation to participate in the WHO consultation to prepare a Global Standard for safe listening at music venues and events.

    Based on the WHO draft, Live DMA main arguments were to:

    • Address the national authorities’ role and responsibility in the implementation of safe listening guidelines, in terms of funding opportunities and access to training and technologies.
    • Cover the challenges related to freedom of arts and the fact that restrictive sound regulations might endanger some music genres.
    • Include special attention the voluntarily-based organisations, not to complicate and create barriers to younger generations’ engagement in cultural events. 
    • Include information about the costing of the measures and recommendations. 
    • Give more flexibility in the sound-limit levels for small live music venues
    • Delete sound limitators (for the peaks) at live music events
    • Delete suggestions which interfere with the artistic production of an event (first acts, electronic drums etc.

    In a broader scope, Live DMA advocated to:

    • Defend all music aestethics and diversity
    • Share responsabilities between hosting venues, live music organisers, artists and their staff, and public authorities.
    • Raise compliance difficulties for small & medium sized venues or organisations
    • Provide support to stakeholders for implementation
    2022

    The WHO released its Global Standard for safe listening at venues & events.

    The Global Standard acknowledge the necessity of a collaborative engagement of stakeholders with policy makers and insists on a support to venues and special attention to grassroots venues.

    The Global Standard also encourage the use of certifications and public awareness campaigns to be developped in cooperation with representatives from the sector.

    As forĀ the next steps following this publication, Live DMA introduced the Global Standard during its Annual members meeting 2022, and created a task force (Live DMA members’ exchange) to follow-up the implementation of such Global Standard at national level and updates in sound regulations, and regular panels to continue the collaboration between live music representatives, specialised companies and academics in sound monitoring (acousticians, sound engineers, etc) and policy makers.

  • SOUND REGULATIONS IN EUROPE

    Event date : 9 February 2023
    Event organizer :
    sound regulations

    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 live music sector. This Working Group highlighted the many disparities in European sound regulations and confirmed the idea that most of these regulations are not adapted to the realities of the sector and they can threaten the diversity and liberties of the music venues, clubs and festivals as well as artistic diversity.

    Below, you will find a summary of the information and positions exchanged during the Working Group session as well as technical sheets that detail the sound regulation for each country, feel free to download them!

    These facts and perspectives are the result of the Live DMA Working Group session on sound regulations. See the full report here!

    SOUND LEVELS INSIDE A VENUE

    The regulation of the sound levels inside a venue is meant to protect the hearing of the audience as well as the one of people working in the venue.

    In Europe, the sound levels authorized vary from 90 dB(A) to 114 dB(A) with momentary peaks up to 140 dB(C)

    Sound is regulated in a strict manner in some countries and only through recommendations in other countries. The duration of the sound exposure is also a criteria taken into account when regulating sound levels. Some countries have to set up periods or places of less than 80 dB(A) for the audience and workers to rest their ears.

    SOUND EMISSIONS (OUTSIDE A VENUE)

    The sound emissions of a venue is the sound perceived from outside a venue. They are regulated differently depending on what hour of the day or night it is. At night, venues must respect stricter sound regulations than in the day. Some venues even have a curfew after which they cannot emit any music.

    PREVENTION

    Preserving the hearing health of the audience and the workers inside a venue is crucial. Many venues and live music associations have set (by law or by themselves) some preventions tools, such as:

    • Free earplugs available for the audience
    • Noise-cancelling headphones for kids from 3 to 12 years old
    • Reduced price on moulded auditory protections for staff and artists
    • Visual indicators of the sound level (show sound levels in real time or posters informing the public of the hearing risks)
    • A quiet space within the venue, club or festival for audiences to rest their ears

    Specific attention is given to children’s sound exposure. Some venues also have an age limit and can be forbidden to children under 13.

    EXAMPLES OF PREVENTION CAMPAIGNS AND RISK ASSESMENT TOOLS

    Ā© VNPF

    VNPF

    In the Netherlands, VNPF took part in a 4 years agreement with the authorities in order to have sound regulations that everybody agrees on.

    They also developed the prevention campaign “I love my ears”

    Ā© AGI-SON

    AGI-SON

    In France, the association AGI-SON advocates for comprehensive policy making regarding sound regulations.

    The association has launched prevention campaigns and offers reduced prices on moulded earing protections for staff.

    Agi-son Website

    Ā© EarCare

    Online Interactive Risk Assessment Tool (EU Agency for Safety & Health at Work)

    Discover the Online Interactive Risk Assessment Tool for Live Performances, which allows you to asses risks and gives you a personnalised action plan for safety at work.

    Access the tool

    WHO CONTROL THE SOUND REGULATIONS?

    Most of the time, live music professionals are not part of the policy making that rules their sector, work and everyday life. Sound regulations come from different levels: European national regional or local. They can be in the form of laws, decrees, edicts or recommendations.

    CONCERNS OF THE LIVE MUSIC SECTOR

    All the music professionals representatives present at the Working Group on sound regulations agree that sound levels need attention. The following opinions came out from these sessions:

    ARTISTIC IMPACT

    • “The sound reglementations endanger artistic diversity as music genres with heavy bass frequencies are disadvantaged and risk to be less programmed in venues because organising such concerts is more difficult.”
    • “Local rules create inequalities among a same country and complexifies touring bands as they need to comply to different reglementations for each different gig”
    • “Sound regulations that are too strict might alter the experience of live music and make it nonsensical”.

    POLITICAL FRAMEWORK

    • “The chain of responsibility is unclear. Are music venues the sole responsible for managing sound emissions?”
    • The entities controlling the sound levels are not music professionals and are not competent enough to regulate such issues.”
    • “It is very expensive and difficult to implement the reglementation”.

    URBAN DEVELOPMENT

    • “The densification of population and buildings in European cities is not adapted to the sound regulations”.
    • “One individual complaint from a neighbour can close down a venue. It seems unbalanced compared to the many individuals who profit from the benefits of attending a live music show!”

    Legal voids in the reglementations: the various laws and recommendations can be interpreted in different ways. What is considered as noise and a nuisance is very subjective.

    CHALLENGES THE LIVE MUSIC SECTOR FACES

    The European live music sector has multiple challenges to face regarding sound regulations. These challenges are mainly technical and financial: indeed, it is usually very expensive to conform to the law and make a venue 100% soundproof. The solutions proposed by the authorities are often undaptated and costly. Regarding the management of the people once they are outside the venue, no solution has been proposed yet.

    If they do not comply to the regulations, live music venues face some risks:

    • Penalties and fines
    • Restrictions such as the prohibition of organising show for a certain period of time
    • Administrative closure
    SOUND REGULATIONS IN EUROPE
    CountryInside the venueOutside the venueComplementary measuresLink
    BelgiumFlanders & Wallonia: 100 dB(A) at 60min Front of House (FOH). Control by measuring Leq. at 15min > 102 dB(A)

    Brussels: 100 dB(A) and 115 dB(C) at 60min FOH
    – Under 85dB(A) @ 60 minutes: no need to do anything
    – From 85 to 95 dB(A) @ 60 minutes: the responsible of the event/place has to provide earplugs and publicly screen the sound levels
    – From 95 to 100 dB(A) @ 60 minutes: same requirements + need a person in charge of sound who has gone through a specific training provided by Bruxelles Environnement
    Free earplugs available for the audienceREAD PDF
    Catalonia (ES)105 dB(A)– 7am to 9pm: 60 dB(A)
    – 9pm to 11pm: 60 dB(A)
    – 11pm to 7am: 50 dB(A)
    – Sound limiter in each room sealed by the police and connected to the department of the town hall

    – Sign at the entrance: “Noise level above 90dB(A). Noise levels within this place can seriously injure the ear”
    READ PDF
    FinlandNo straight legal sound regulations.
    Usually 96-102 dB LAeq (5min), measured at Front of House (FOH).
    – Day-time: 65-70 dB
    – Night-time: 55dB
    /READ PDF
    France102 dB(A) on 15mn
    118 dB(C) on 15mn
    /– Record and keep the levels (in dB(A) and dB(C)) every 6 months
    – Continuously show levels near the sound control system.
    – Inform the public about the hearing risks.
    – Provide free hearing protection adapted to the audience.
    – Create areas (or periods) of audition rest (less than 80 dB over 8h).
    READ PDF
    Galicia (ES)No straight legal sound regulations./– Include normalised noise isolation to preserve the residential buildings next to the venue: specific checklist to comply to regarding isolation/air conditioning
    – Free protective earplugs
    READ PDF
    GermanyRecommendation:
    – 99dB(A) at 30mn.
    – Maximum peak at 135 dB(C)
    – Day-time: 50-65 dB(A)
    – Night-time: 35 to 50 dB(A)
    Sound measurement inside the venueREAD PDF
    LatviaNo straight legal sound regulations.Regulations depend on the 5 different area categories of the city:
    – Day-time: 50-60 dB(A)
    – Night-time: 40 to 55 dB(A)
    /READ PDF
    Netherlands– Agreement signed by VNPF with the department of health:
    103 dB(A) at 15mn.

    – Several labour conditions to respect regarding noise protection
    Depends on the municipalities. Fluctuate between 25 dB(A) and 70 dB(A) depending on the hour and the area./READ PDF
    Sweden– 100 dB(A)
    – Presence of kids under 13: 97 dB(A). Kids can come at some festivals if they wear ear protection
    /Measurement of sound levelREAD PDF
    SwitzerlandRegulations depends on the 26 cantons.
    – Unamplified sound is not yet subject to any obligation.
    – Limit value is 100dB(A) average per hour
    – The momentary value must never exceed 125dB (A) at any time

    Regulations also depends on the categories of events.
    /Depends on the categories of events:

    – Information about the hearing risks
    – Free hearing protection available
    – Monitoring of the noise level
    – Autorisation for limitation must be requested
    – Soundsystem doesn’t last for more than 3 hours
    – A 85 dB(A) zone must be set-up
    – Record of the sound level
    READ PDF
    United KingdomFor the workers:
    – 87 decibels for daily or weekly personal noise exposure (LEP,d or LEP,w)
    – 140 decibels for peak sound pressure (LCpeak)

    For the audience: no specific legislation but recommendations:
    – the A-weighted equivalent continuous sound level over the duration of the event (Event LAeq) in any part of the audience area should not exceed 107 dB, and the C-weighted peak sound pressure level should not exceed 140 dB
    Depends on the venue category: from 15 dB(A) to 725 dB(A)– Audience not allowed within 3m of loudspeakers
    – Hearing risks information for event above 96 dB
    READ PDF

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