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
Inspirations
On this page, we present you projects from venues, clubs, festivals, and live music associations that caught our attention. You can seek inspiration and best practice tips & tricks for your own projects from these presentations.
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Last updated 09/04/2020 – 13:30 In front of the frightening consequences of the COVID-19 crisis for live music scenes, various actors of the sector have called for solidarity and initiated campaigns to save live music venues, clubs and festivals from definitive closure. Indeed, solidarity and its practices are deeply rooted in the Live DMA network…
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KeepOn Air is a streaming platform created by KeepOn Live, the Italian live music association, in response to the quarantine imposed by preventions measures to avoid the spreading of the COVID-19 virus. KeepOn Air enables live music venues to continue their activity and to keep artists, cultural workers and audiences connected to each other in…
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CON-FRONT is a contemporary cultural commemoration of the Great War (1914-1918). Stepping away from canonical cultural commemorations, this project involves a consortium of live music venues and heritage centers from 4 different European countries. Through live music and visual arts, the project aims at rendering a common European memory and link it to contemporary issues,…
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The 4AD Muziekclub in Diksmuide, Belgium is part of the Clubcircuit network. For more than 20 years, it has worked with an ecological philosophy, relying on their own resources and values to put in place sustainable practices. In 2016, they planted a forest near their venue. Find out how and why by navigating the slide!…
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First concrete contact between a venue and its audience, concert tickets were originally used to count the number of people attending a gig and serve as justification of the income of a concert. Nowadays, tickets have become a powerful marketing tool and an efficient way of collecting audience data. As online ticket sales become more…
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In 2016, Feierwerk, a socio-cultural non-profit organisation in Munich (Germany), experimented an innovative party concept that is based on democratic and active participation and that fosters inclusion: Plug in Beats â Munichâs first Smart(phone) party. By creating low-level access and means of participation in cultural venues, Feierwerk managed to create an event that encourages active…
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Issue Wrestling is a project initiated by the artist Natasha Taylor, and tested for the first time in WORM, Institute for Avantgardistic Recreation, in Rotterdam (Netherlands) from 8 to 17 of December, 2017. As a member of VNPF, Dutch organisation representing the collective interests of live music venues and festivals in the Netherlands, WORM is one…
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Concerts and live music acts are a huge part of the European culture as they take place in essential cultural and social sites where people can meet and exchange. On Saturday, the 2nd of February 2019, live music venues & clubs all over Europe open their doors on the same day during daytime and invite the audience to discover what is happening behind…
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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.”