âIt’s really important for us to be at the forefront on the sustainability and inclusion questions, to inspire others and help with all these things. If we donât have a sustainable future, we may not have a future at all.â
observation & figures
On this page, you can find facts, figures and information on specific topics and on specific regions and countries.
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We are pleased to share the official inventory of Live DMA, stating the numer of venues, clubs and festivals part of our network! This official document aims to show the evolution of our European network. The live music sector in Europe is growing fast and new national networks are created in order to support the…
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With the Survey, Live DMA presents the first Europe-wide quantitative study on live music venues and clubs. This project not only helps in having a better understanding in the European venues’ legal status, type of activities or number of workforce but also helps our members in collecting their own data at their regional or national…
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The IFPI, the trade body representing the recording industry worldwide, commissioned a report on the economic impact of music in Europe. This report quantifies the gross value added, employment and tax contributions the music sector made to the economies of the 27 Member States of the European Union (EU27) and the UK in 2018. Live…
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Analyzing the popular music sector is one of FEDELIMAâs (FĂ©dĂ©ration des Lieux de Musiques Actuelles â Federation of Popular Music Venues) main tasks. Its motor and founding principle of action is a methodology we have named âShared and Participatory Surveyâ (SPS). The SPS method is a philosophy of action that relies on accompanying and involving…
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This publication provides insight into the Facts & Figures in the Netherlands for the year 2019 of 53 of the 59 music venues, and of all 52 festivals, that are members of the VNPF in October 2020. The year 2019 was a record year for the Dutch music venues and music festivals in every respect.…
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Since March 2020, most of the 2,600 live music venues and clubs represented by Live DMA and its members in 16 European countries are in survival mode. Due to government regulations, music venues and clubs had to cancel or reschedule all their events. Due to the current restrictions, apart from small concerts and non-musical events,…
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1) Can you please introduce yourself? “My name is Elda GĂłmez, cultural manager who works for ACCES, the Spanish association of private concert venues. I have also been the ACCES survey coordinator since we started this project with Live DMA seven years ago.” 2) Who are the members of your network? “The members of my…
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This article presents: WHAT IS THE VAT The Value Added Tax, or VAT, in the European Union is a general, broadly based consumption tax assessed on the value added to goods and services. Source: European Commission The live music sector is international. It can thus be difficult to grasp all the VAT requirements of each country and…
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According to a governmental study on the cultural practices of the French population, music is the first art practiced by French people. The practice of music is a cultural expression that enables people to become cultural actors and not only consumers. In that sense, the practice of music is rooted in the cultural rights of…
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âItâs all about sharing and cooperation!â
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âWe need organisations like Live DMA to support our activities. During COVID, it was important to have Live DMA meetings so that we could learn what was going on in the other countries, and that was very helpful when it came to the lobby work on the local levelâ
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“We have been celebrating the 10th anniversary of Live DMA, a network which was created in 2012 by venue networks from all over Europe. The purpose was to share knowledge and skills with each other, and to set up common projects, and I think weâve succeeded in doing that!â
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“I learned to collect and process data with good quality, and also I learned the importance of data to start a dialogue with institutions. Good data gave ACCES a lot of recognitionâ
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ʻʌThanks to Live DMAÊŒs Survey, we showed our government that the more a venue is subsidized, the more money they generate. The Ministry of Culture had little knowledge of our sector. So to present these figures from different European countries was crucial in re-valorising our subsidies.”