Analysis: LCFC victory celebrations

The Leicester City Football Club victory celebrations

Preface

This is likely to be a large article. For that reason, I am publishing the first draft and will then update it as research results comes in and as I work through various issues. It will be useful to make it available on the Internet to aid dialogue with others, rather than waiting until the whole piece is finished. This article is, therefore, work in progress.

Article published from 18th May 2016

The LCFC victory parade and celebrations of May 2016

Victoria Park crowd from the air

Monday 16th May 2016 was the day on which Leicester celebrated Leicester City Football Club’s winning the Premier League Trophy. I was there on Victoria Park watching the post-parade show and now I am writing about this event as a local historian. I have a range of other interests in it as a social movement; I do not have an interest in it as a football fan (which I am not.)

This article considers the significance of the victory celebrations, from both social and historical perspectives and draws in narratives about mass observation and the methodologies of local history. The article will look at the wider context of the event as part of a discussion of its significance.

The victory celebrations were also important as a media event. Some of my work will be to look at how the world’s media covered the event and (to a lesser extent) the world media coverage that Leicester had for the Premier League win as a whole. This forms part of the narrative of local history.

Social movements and migrations

Yesterday (16th May) was not a social movement; neither was it a migration. Having said that there are aspects of the whole event that share characteristics in common with social movements per se and with migration as a movement of people.

It is said in the media that 250,000 people were “on the streets of Leicester” to celebrate the LCFC victory. I would like to work out what proportion of those people were residents with LE postcodes compared with those who came into the city from the county of Leicestershire and from further afield. Slight anecdotal evidence suggests that large numbers of people came into the city by train; some of these might have started at stations in the county but it would be interesting to know what level of traffic came into the city from outside the county. The hypothesis here is day that the day was a national event.#edit

Migration is not the best word to use in this context. Movement of people might be an alternative phrase, if only because the era in which we are living is seeing one of the largest movements of people in the history of the world. This is about migration of millions of people from one country to another. This might not seem relevant to the event in Leicester but it provides a bigger picture about the ability of people to move around, access transport and find out what is happening where and when. Movement of people, travel, transit and attendance is a subject worthy of study.

The route of the event was publicised some days before the parade took place #edit The announcement of the location of the festival on Victoria Park however was given out only a couple of days before the parade. #edit. I use the word ‘festival’ to denote the mass gathering on Victoria Park that took place after the victory parade through the city centre; it was rather like a festival – having a main stage and several music acts.

This section focuses on the mass movement of people in geographical terms.

Mass observation

Both sociologists and historians use mass observation as a method for capturing data about events. I will try to find out if there was an organised mass observation of yesterday’s celebrations. #edit

What surprises me is that I knew that this event would happen right from the word go; although I had enough time to organise around it I did not do anything in advance. I could have brought together a team of people to gather mass observations on the streets during the event. I have organised mass observation projects before, in Leicester, but it did not occur to me to organise such a project for this event.

I will however search for any other projects that treat this event as an opportunity for mass observation.

What would we expect to gain from a mass observation of the victory parade? Quite a lot, actually. Even just me being there at the park, I saw a lot of things that were significant. Things that were unexpected, that meant something to me as an observer of life in Leicester. This article will eventually contain examples from my own observations and from comments scraped from social media.

One of these significant observations was the multi-ethnic composition of the crowd and presence of many women wearing hijabs. I noticed this and so did other commentators on social media.

The other thing I noticed were street vendors. Someone commented to me that he had seen “unemployed people selling merchandise on the streets.” In his view, many of those selling goods were people who had jumped on the bandwagon to make a fast buck. That is significant. I saw organised vendors setting up stalls from around 10:30 in the morning. Many of the shops along London road had put sales points at the front of the building, open to passers by. At last one restaurant and removed all its furnishings to create a space that could be filled with customers. This tells us something about business and commerce. #edit Micro-enterprise I suggest is something that merits study as part of what happens at large gatherings of people.

Historical significance-

Was this the largest public event ever to have taken place in Leicester?
Mass public events have taken place before in Leicester. I remember the two One Big Sunday events that were held on Victoria park, which attracted crowds of around 100,000 people.
The history of Leicester contains accounts of demonstrations, open air meetings, pageants and other events that drew large numbers of people. I will look to see how the size of crowds for past events compares to the numbers who attended in victory celebrations. This will set the event in an historical context.
The re-burial of the remains of King Richard III attracted large numbers of people to Leicester. I observed this event. There are other questions that interest me about the Battle of Bosworth, another large event in Leicester that took place 531 years ago.
How many people were involved in the battle of Bosworth in 1485? How many soldiers fought at Bosworth field? How many people saw King Richard III and his retinue depart from the city and how many witnessed the return of the dead King?
This narrative begins to unravel how events are given significance in historical analyses.

-for Leicester

How did such a large number of people find out that this event was about to happen, where it would take place and the time table made for it by its organisers. #edit. What conclusions may be drawn about the size of the crowds lining the streets and at Victoria Park?

-for England and Britain

I have portrayed the LCFC victory celebrations as a national event. It lasted for one day – as many other national events have done and it was focused in just one local area but that is not uncommon for events where the people of Britain mark something that is important for them. Was it a national event? Or, what it simply an event of national significance?

The view from the ground

How did it feel to be there? I spent most of my day walking around the Victoria park area, watching the crowds, the media, observing activities, watching the main stage… how did I feel about that? I plan to write a poem about the event. #edit As a writer I have a fairly wide scope of output, both in creative and non-fiction works.

Capturing history

History is mainly about old documents. But how is current history made? How to today’s historians document things that happen during their lifetimes?
Today’s historians have access to a wide range of media: films, photographs, news reports, comments made on social media outlets, newspapers… a must broader range of source material than was available in the past. How do historians go about capturing contemporary material to form part of a documentation of events and other aspects of history?
Social media produces a tidal wave, a tsunami, of content but it quickly evaporates and can be very difficult to recover. If we scrape Facebook and Twitter for comments, photos and observations we can quickly build up a large-scale picture of an event. We do need to do that quickly because the long it is left the more difficult it becomes to capture.
We might want to analyse such material but if we document it carefully it becomes source material for later historians to use; they might develop a new slant that we not apparent to us now.

Documenting social media

The twenty-first century saw the mass usage of social media both in Britain and in the rest of the world. That made a considerable impact on how people viewed events, happenings, processes, systems, a huge variety of observations and analyses of politics, sport, culture, entertainment, workings of the media, and so on. #edit

Marketing, trade, commerce and merchandising

Mention has already been made (above) of the large number of street vendors present at the event and of the shops, restaurants, bars and coffee houses along the route of the parade. This section focuses on the way that the event was used by a variety of commercial interests to cash-in on the celebrations.

For example:

Catering for those who enjoy slurping the faces of their sporting heroes, the “Vardyccino” was dreamt up by coffee shop owner Hamza Bodhaniya of Bru Coffee and Gelato in Leicester. Selling at £2.15 for a regular cup and £2.45 for a large, the Vardyccinno has proved popular with punters.The drink is elevated from being a mere cappuccino by chocolate powder dusted on top in the shape of Vardy’s head and upper body. [Source BBC website]

Study notes

University of Leicester, Mass Observation online

Social media 1 – Twitter

#Leicesterparade

Media coverage
BBC Leicester City parade: Clean-up after 240,000 people celebrate

BBC World on the move

Leicester city: who is riding the marketing bandwagon?

National

Mass Observation Archive

ends

MusicHistory

29th August 2014

The History of Music in Leicester

For most of this year I have been writing a book that is about music in Leicester; the first volume of this covers the years 2006 to 2013.  So far I have made first drafts of the chapters on the years 2006 to 2011. I am now working on the chapter for 2012.

The material for these chapters is being drawn from the articles and reviews of bands, singers, festivals and music events that took place in Leicester and Leicestershire and which were published in the Arts in Leicester magazine.  When Arts in Leicester website was revamped, pretty much all the music content was taken off-line and stored in an archive. It is that archive material that I am now editing into a book, which I hope to publish next year.

When it becomes available, the book will offer a detailed day by day account of live music and the happenings on the Leicester music scene.

The book, which has the working title – The History of Music in Leicester – will also have a volume that covers the music history of the city from Roman times up to the present day.

See also:

My post about local music

Local music: does it matter?

Trevor Locke asks if local music really matters

If you watch the television you might choose to watch a programme about rock music in the 70s or 80s. If music is your thing, there is no shortage of programmes in which famous musicians are interviewed and clips of bands and singers playing songs of the time are shown. These programmes are very interesting and informative but they are all about the big bands that made it into the charts.

What is largely neglected by both the media and by historians is music at the local level. It is assumed, most probably, that anything about live music in one town or city will be of interest only those who live there. Unless of course it is about Liverpool and the Beatles or possibly even Sheffield and the Arctic Monkeys or Manchester during the days of the Hacienda. These are subjects worthy of programmes or books because, in the opinion of their producers and authors, they have had an impact and influence on the national music scene.

I want to argue that music at the local level is both fascinating and important, in its own right. I would say that, wouldn’t I? After all, I have spent over ten years of my life writing about the music of Leicester for the magazine I created and now am compiling all that work into one enormous book on the subject.

Given that I am engaged in writing about local history, why is it that historians largely ignore music when they analyse and discuss the life of local communities? Local history has established itself as being an area of study that is credible and interesting, as much as the history of the nation as a whole. Local history of any kind is not just of interest to people who live in the area; those who research and write about local history like to consult works by others who are engaged in similar projects. Local history is a legitimate branch of learning in its own right. The life of any nation is not just about kings, politicians and battles. No understanding of a nation is possible without an awareness of the culture and life of people whose daily lives creates that nation. We cannot understand England without understanding the ordinary common folk who comprise it.

People who write about local history often focus on the areas of human activity that have been established in the accounts of the nation as a whole: commerce, industry and economics, politics, transport (trains and roads), women, race, battles and armies, etc. You do sometimes get studies of art or culture at the local level and that, by and large, concerns itself with pictorial art and sculpture. That stance on local history is often bolstered by the view that something at local level is of national importance. That take on history pivots around the assumption that something must have that magical national significance to justify it and give it credibility. Who arbitrates what is of national significance?

My interest is in music; my two great passions in life are music and history. So, writing about the history of music would be completely natural for me. The shelves of libraries are well stocked with books about periods of musical history, accounts of specific bands, studies of specific genres and so on. If, like me, you want to read about music in a town or city, you will have to search extensively to find anything. The shibboleth about local needing to be national haunts music and art history as much as anything other aspect of life at the level of street and town.

This situation needs to change. Historians and musicologists alike need to recognise that music has always been an important part of the life of any local community. If you want to understand what daily life was like in the past, as now, you have to look at the music that the people in a community were listening to. Art is about painting and statues, but it is also about music – and not just classical music. There are endless books about the great classical composers but almost nothing about the work of the countless men and women who have made music, composed and invented it throughout the ages at the local level. History is organised around notoriety. It is the legacy of how academia has been organised since Greek and Roman times that only the great artists and composers are worthy of study because they have defined the cultural landscape of The West, Europe, England … well of course that is true but I want to see credibility given to the study of the art and culture of common people, everyday country folk, the people, the masses, what ever you want to call them – the people whose lives come and go but leave little behind them. Historians tend to work with what is stored on library shelves. What gets on to library shelves is arbitrated by the shibboleth of national significance.

Archaeologists however are much more likely to unearth the remains of everyday life. Modern approaches to history are becoming increasingly concerned to reveal what life was like in the streets of a village, town or city. We can have a fairly detailed view of what happened in the streets of a Roman town, how food was produced and distributed, how people were housed, the tools they worked with, what people ate, how they dressed and cooked, how they were entertained and, to my mind, what music they listened to.

Delving into the history of music can be very difficult; the further back we go the harder it becomes to find remains because music just happens and unless people at the time wrote about it, nothing survives from music-making, apart from a few instruments or fragments of them that happened to be preserved in the earth. Such investigations become easier in recorded history when we can find manuscripts, writings, music scores, accounts of concerts or festivals to give us an idea of what people listened to. With the advent of film, recordings and the Internet, there is now a huge amount of material to work with if we want to write accounts of the musical culture of today or recent times.

At the local level however material about music is ephemeral and volatile. Vast quantities of videos, tracks and gig flyers flood through the pages of social media but few people see all this as being grist to the mill of historical research. Like many with an interest in music, I spend many hours of every day on Facebook, Twitter or websites watching what is going on, mainly in my own locality but also at national level. As a music journalist, my task is to watch, record and annotate musical culture in my local area.

The present is what is happening now. What happened yesterday is history.

Music, in my view, is an integral part of local history, just as much as food, buildings, clothing, work, politics, trade or anything else that forms an understanding of the life and experience of a community. This is not a perspective that I see in the output of the majority of local historians. Local history, I would argue, is the poorer for its lack of recognition of the significance of music to accounts of what happened at the local level in the lives of everyday people.

Anthropologists, who went out to study and research the life of tribes, cultures and peoples in foreign countries often recorded and noted the music that they made. They, like archaeologists, got down to the nitty gritty of everyday life and they found music in every social group they visited. Anywhere in the world. Whether it was part of religion or ritual, part of social gatherings or the transmission of culture and collective memory, or the expression of collective identity, musical activity was found everywhere that anthropologists went. From the Trobriand Islands to the high mountains of the Incas, anthropologists went to see people living their ordinary everyday lives and to record what they saw, whatever it was, and they all saw music being made.

Academically, local history shares many interests and sources with anthropology and archaeology. It is therefore somewhat odd that local historians have neglected music as much as they have in their understandings of the life of local peoples. Researching the history of music in an area can be challenging and difficult because of the dearth of source material with which to work. The further back in time that one wishes to go the less there is to work with and the harder it is to unearth. Yet, the more fascinating and informative it becomes. Music is an activity that tells us a lot about the people who make it and those that listened to it or took part in it, through religion, ritual, dance, social gatherings or just plain old entertainment. Music is a key definer of social identity; what music you like marks you out as a person. The gigs you go to are part of your social identity. The kind of music that is found in a community defines much about its culture, belief systems and cohesive tissues. The lyrics of songs are capsules of what people believe, celebrate and remember. The status given to music makers tell us something about the way a community is organised. This is as true at the local level as it is at that of the nation state.

Even when not focussing specifically on music, local history is incomplete unless it has tried to account for the everyday life of a community and that must, I argue, include how people were entertained, fed, clothed, educated and how they socialised. Music should be a topic that is always included in accounts of life at the local level. Without an account of a people’s music, the picture is inherently incomplete.

Trevor Locke

9th August 2014.

 

About this article

It might appear that I have assumed that no one has ever written about local music. I know that not to be the case because I have found studies in my own area of Leicester and have searched for and read material relating to other towns and cities in the UK, both in the form of books and articles on the Internet. The present article forms a précis for a more substantial article that I have planned. I offer it at this stage to see if I can evoke some comments or even make contact with like-minded individuals who share both my agenda and my interest in this topic.

Music Awards

26th March 2014

This is an archive post; it is not current; it’s here for the record.

archive page logo
This page forms part of out archives

LEICESTER MUSIC AWARDS

NB: the idea of the Leicester Music Awards was never followed up and nothing was ever done about it.  This article won an award: Annual Apathy Prize for 2014.

Should awards be given to celebrate the music of Leicester? This article discusses this question.

First, some background. Society in general celebrates and honours achievements in many ways. The Queen confers honours in the form of OBEs, MBEs and CBEs. Awards and prizes are given in the world of sports, the arts, films and television, literature, science, engineering and so forth.

Second, in the world of music, there are several well-known awards, including the Brits, those given by magazines such as NME and Kerrang and others which celebrate popular music generally. ‘The Barclaycard Mercury Prize promotes the best of UK and Irish music and the artists that produce it. This is done primarily through the celebration of the 12 ‘Albums of the Year’.’ Likewise there are awards made to specific genres of music, such as The Urban Music awards which ‘recognise the achievement of urban based artists, producers, club nights, DJ’s , radio stations, record labels and artist from the current Dance/R&B, Hip-hop, Neo Soul, Jazz, and dance music scene.’

There are awards for classical music, music made by young people, opera, choral music, and so forth. Some awards are given by the big national music industry organisations and some are geared to independent music. The company that manufactures Orange Amps sponsors awards in the world of classic rock as it also does for ‘prog’ music.

These are all national-level awards. At the local level, there are far fewer examples but a few do stand out.

The Liverpool Music Awards ‘honours the heroes of the music industry in our city: not only local musicians, but also those behind the scene, who facilitate and inspire others to create and perform on Merseyside. While the scope of the awards provides opportunity to celebrate musical achievements which have gone beyond the borders of our city, at their core the awards are for those who are currently active in Liverpool.’

In Brighton, the BMA is about ‘Celebrating the best independent music from Brighton and across the region.’

The Manchester Musical Awards honours the world of musicals.

In Nottingham, Nusic selects an artist of the month. The Nottingham Music Awards is about ‘Celebrating the vibrant and eclectic Nottingham Music Scene.’ The Nottingham Music Awards – also known as the Notty’s – will look to celebrate the achievements of the great musicians, singers, promoters, managers and others who play a part in what is a boom time for the Nottingham music scene.’

The giving of awards, prizes and honours is a widespread and long established aspect of human life across all fields of human activity.

Here in Leicester, Arts in Leicestershire published a Band of the Month to highlight the work of local bands and did this from 2008 to 2012. Later Music in Leicester website continued this by publishing a band of the month. Both also published an annual Gigs of The Year article to recognise outstanding live performances.

What would be the benefit to Leicester?

If Leicester was to follow the example set by other local cities and to create its own set of awards for popular music, what might be the benefits?

My stance on this is that there would be two sets of gains: the national and the local. It is possible that local music-markers would enjoy the recognition of receiving a gong for their endeavours and in particular new bands and rising artists could be given a boost and encouragement from such acknowledgements.

More importantly, in my view, there would be benefits for the music community as a whole. The existence of awards for music would boost the notoriety of Leicester as a centre of musical excellence. Many people have commented that music is one of Leicester’s “best kept secrets” and that much more needs to be done to gain acknowledgement of our music at national level.

In principle, such an initiative would confer benefits far beyond the confines of the city. However laudable it might be to recognise and honour musical achievement at the local level, what stands out for me is the celebration of our music at national level.

There are course a lot of dependent factors in this: not least who is selecting and judging the potential winners. Some of the judges would be local people who have followed the various genres of music in the locality but alongside these should be those who bring a wider perspective – people in the East Midlands region and those who know music at a national level. Local people patting themselves on the back might be good but if there is an equally weighted group of people with a wider take on music, who also have a part in honouring the city’s bands and artists, then this gives the whole thing added credibility.

Some awards allow music fans to vote on nominated acts but, in my mind, this counts for less than the judgement of music professionals. At national level, it might well be fine for the public to vote in large numbers for a music artist but at local level voting reduces favour to popularity and the size of an act’s following. That can be fair enough for local competitions, although some have argued that this is inherently unfair because there is no necessary equation of musical ability and local popularity.

If the choice should rest with a panel of industry experts, it is vital that there is a cross-section of backgrounds that reflects the scope of the music scene. If we opt for a generic Music Award (even one that is focussed only on popular music including rock, indie and urban genres and not classical or choral) then the judging panel must draw in those from a wide spread of ethnic and cultural backgrounds.

As with most Awards, there are likely to be categories and prizes that celebrate specific kinds of music-makers, including bands, singers, rappers, instrumentalists and so on. It is possible that certain kinds of music outputs might also be worth honouring, including best recorded tune or song, best lyrics, best music video, best live performance, etc.

Where general Music Awards are concerned, most would want to honour long-established acts as well as emerging new talent. Some scope also exists to honour the music industry that brings their work into the outside world – venues, promoters, recording studios and so forth.

What I personally do not approve of is a competition in which music acts have to perform in a series of heats and semi-finals in order to gain an award. It think it is much better that judges base their approvals on performance over a period of time, look at the live gigs, recordings and output of the acts, basing their assessments on what an act has achieved over time and not on a single series of live gigs.

Is it worth it?

Any award-making initiative depends, for its success, on a range of factors that must be got right at the very start. Who will be chosen to be the judges is the most important factor, but it is also necessary to factor in elements such as sponsors, backers, financiers, publicists and a plethora of people who can contribute to the whole thing being worthwhile and successful. The kudos of being granted an award might be beneficial in itself but if the awards also confers other forms of value – cash prizes, recording contracts, publicity – then people might see it as being more widely worthwhile.

The potential down-side of sponsorship is corporate domination; independent awards avoid the kick-backs from big commercial organisations using the process for their own agendas.

The critical factors are not just who judges but what criteria they use. This has to be transparent. It’s all very well awarding a prize for the ‘best band’ but the value of that is not obvious unless the criteria is very clearly stated.

The worth of a Leicester awards initiative rests, in my view, on what the music scene as a whole gets out of it. It also has to be an annual process in which its value grows year on year.

Flash gigs

We have just come up with the idea of putting on a flash-gig as a way of getting people to come to our show.

I don’t know what it is like in other cities, but in Leicester it is really, really difficult to get people to come to gigs.  There are over 8 live music venues in this city putting on gigs nearly every night of the week.  There are over 300 local rock bands all of whom want to play as many times as they can in Leicester venues.

This means that competition for the limited number of fans who are prepared to go out and see live bands is fierce. Most of the publicity for gigs is done on the Internet – through social networking outlets and the websites where shows can be posted. Printing vast quantities of flyers and posters is not just expensive – it’s almost non-productive.  If you go into our live music venues the walls are plastered from floor to ceiling with posters and there are always piles of flyers everywhere you look.

You can book a line-up of bands several weeks ahead only to find that by the time your own gig comes round, several other venues have started to publicise gigs that are in competition with your own. This is partly why we came up with the idea of a flash gig – an event date where we spot a date where not much else is happening and then we jump in, book a venue, some bands and then flog the publicity like mad.

It might work.  We shall see.  If everybody starts doing it might loose its edge.  As an idea it had its wow-factor. Every time we have put on a gig we have planned it carefully months in advance.  We have done all the things that promoters are supposed to do. Worked steadily and consistently with the on-line publicity. Printed posters and flyers and trudged round trying to get people to take them.

The big night arrives. We think our bands are really great. We think we have got all the elements right for a top night of live music. We wait for the queues to form at the door.

Then disappointment. Fewer people turn up than we had expected and we begin to wallow in self-doubt, wondering where we went wrong.  This pattern is repeated for touring bands – those who want to come to play in Leicester because they have heard its a place with good venues and lots of popular support bands. They have played up and down the UK but they fail to pull as many gig-goers as the little newbie band that went on first.  It can be a hard life for both promoters and bands.

After several years of putting on gigs I can’t just give up.  There are just so many bands that I really like and want to book for gigs. I want to big them up because I think their music is just so great. I try to think outside of the box, try out new ideas to see if they work any better than the conventional wisdom of how to market shows.

So, we try the ‘flash-gig’.  We will let you know if it works.

Postscript

If you want to see what happened to our ‘flash-gig’ you can read the report on our page

Arts In Leicester’s Flash Gig

What makes a good live music scene?

13th December 2010

Having just got back from a really good meeting of the Leicester Music Collective, I thought I would commit a few words to paper. Well the digital version of paper maybe.

The nub of the meeting was talking about how we put more bums on seats.  Leicester has seen a massive increase in the number of live music venues and consequently in the number of gigs happening, week in and week out.

Promoters, venue owners and other industry movers and shakers are scratching their heads about how we should try to get more people to come out to support live music events.

We are all passionate about live music. We want to see more people attending gigs because we believe it is a really great way to spend an evening. But how do we do it?

One solution that is being delivered, is to print a monthly listing of gigs across all venues and distribute it as widely as possible. I support this. Even though I spend a lot of my working day pushing out information about gigs –  on the Internet – I realise that there is still a proportion of the population who do not go on the ‘Net every day. Even if they do, they tend to use it just for e-mail and don’t spend time surfing the web sites and social media outlets where they could come across info about live music.

If you do want to know about gigs or bands or music, you don’t have a problem finding it on the ‘Net.  If you might possibly want to go out and ‘see a band’, incredibly it can be difficult to find out what is going in this city. If Leicester has a problem getting the word out about gigs, it’s also likely to be the case that other cities have the same set of issues.

Distributing flyers that list gigs is one part of the solution and a lot of people said a lot of things about the practicalities of making this happen. Happily, someone has made a start on it and a listing is being produced.

Leicester has a profusion of live music venues; it has a huge supply of bands and artists playing every kind of music you can imagine. Live music has been a feature of Leicester life for decades.

There was some really interesting analysis about the impact of the BIG music society on tours, venues, ticket sales and festivals. Interesting though that is, my focus now is on amplifying the crowd for the small venues and the unknown, unsigned bands.

Someone pointed out that people will pay £20 to £40 to see a band they really want to see. Getting people to pay £5 to see bands they haven’t heard of, is much more difficult. But this is precisely where I operate and that for me is the major challenge.

Everyone agreed that it’s about getting the information out there; whether we use high-tech fixes or plain paper solutions, we need to make sure people know about what is happening, where and when.

On top of that there is a harder task of ‘selling’ unsigned, live music.  Why would anyone want to pay £5 to see a line-up of bands they have never heard of  before? Well, after two years of going to gigs, seeing hundreds of new bands and writing about many of them, I really feel passionate about live music. In a world increasingly dominated by recorded music, the difference between the two is immense. For me, live is the best. Live is what brings music to life. I don’t just want to  hear it. I want to see it.

But can I sell that idea to people who just want to plug themselves into their iPod and think that is what music is about, full stop?

I want to shout about the live music experience. I want to convince the public that live is an unbeatable form of entertainment. I want to convince people that going out to a gig and seeing bands playing is much better than watching it on TV or listening to music through ear plugs.

This wonderful group of people which has come together in Leicester has started to take that whole issue on board. The discussion however has focused too much on the supply side and not enough on the demand side of the market.

They did come up with the idea of doing a survey; asking people who go to live gigs what they think about things like: the venue, the ticket price, the transport there and back, what they like best and dislike most about shows and so on and so on.  That is good; we need to know much more about the punters, we need to keep asking questions that might help us to figure out the quality issues posed by live shows.

The other side of the equation is the bands.  This needs to be on the agenda. In live music, everything is driven by the bands, at the end of the day.  They are the people who make the music. But how do they contribute to making a local live music scene a success?

I am really looking forward to that debate. I already know some of the things that will get said:  what bands thinks of venues and promoters and vice versa. In Leicester, there is an almost endless supply of young men who want to play guitars on a stage. Sorry girls, but the ratio is about 20:1. I have lost count of the numbers of male musicians but I can count the female players of guitars, bass and drums on my fingers. Same is true of vocalists.

I have asked many questions about how bands write music. Who writes the songs, who makes the melodies, how do they choose what style of music they will play, what influences move them, do they ever think about what they look like on stage … and the answers are all invariably the same.

Musicians follow their own musical instincts. When four guys get together, assuming they gel together on the music, they will produce for their band, what they have had as a musical career, what they have grown up with, it’s all about their tastes, their musical passions, their sense of what works.

Ok, I hear you say, but that is also true of every other art form. It’s so obvious it’s hardly worth thinking about. But I also hear musicians talking about wanting to be successful, of making it in the music business.  Having talked with band members (for a few years) about this very subject, I know how difficult it is to get them to think outside of the box.

If a band has real talent and makes music that is good enough for people to pay to hear, what else do they need to do?  Sadly it is not all about the music. Of the 250+ rock bands in Leicester that write their own music, only a tiny few will ever stand any chance of making  it in the world outside. Are they the ones that have their fingers on the pulse of modern music and happen to be writing the best songs?  Not necessarily. There’s a lot more to it than that.

I’ve written about the ‘bands with no fans‘ thing before. I’ve talked about how bands can promote themselves. I’ve gone on about putting fans on floors. It’s still amazing to hear unsigned bands complaining that promoters are not providing them with big enough crowds.

It’s amazing because there is still a lack of ‘mojo’ about what makes live music work. Even if all promoters and venues did a perfect job of promoting shows, it’s still obvious that it is the bands who have the fans. It’s the band who has to put feet on floors. They are the ones who know who their fans are.

It’s incredibly difficult for promoters to sell tickets to the fans of a band. Even though MySpace, Facebook and Twitter are the most immediate conduits to the fans of a band, it’s not easy for promoters to message those people. Bands are not going to hand over their log in details to a promoter and say – ‘ok here are all our fans, you talk to them.’

Promoters can fire out marketing messages to the general body of people who might like  live music. We can put stacks of flyers into what we think are the right places. But the ones who are most likely to turn up at the door, are the people who already know that band. Access to those people is restricted to the bands themselves.

I don’t want to get started on the issue of ‘pay to play’ but the reason that hoary old chestnut won’t go away, is that for many venues and promoters it’s a solution that can work.

In a nutshell:  the promoter sells tickets to the bands. The band members then sell them to their fans. It can and does work but there are many band members out there who do not like it.

Some festival tickets can cost between £20 to £30. If you have to sell, say, 50, that’s £1,000 to £1,500.  For most small bands that’s a load of money to worry about.

Even so, I have heard bands say that they would be willing to pay that kind of money to get on to certain festival stages.

I’m not condoning this; I am just recognising that it happens. If it’s not part of the solution, it’s certainly part of the problem.

If bands want to be successful, they have to play music that people want to hear. They have to put on a performance that people want to see.

They might well have to compromise on their own personal tastes and accept that there is more to being a successful band than self-indulgence.

Moreover, they also have to bear the burden of winning, keeping and organising their fan base, promoting themselves, getting their name known and constantly tapping music industry people on the shoulder.

It’s great to hear stories like “oh, we had this box of 400 CDs and we had to sit down and listen to them all and decide which ones we wanted to sign up.”

As a music writer I sit in the middle of all this and hear both sides of the story. If we want more feet on floors in Leicester then both the promoters and the bands have to work together to achieve that.  No one has the exclusive power to win ticket sales.

We all agree that live music is the best music and we all want more people to join in and enjoy it.  We are only going to succeed if we all work together.

That ‘s what these meetings are about. Not why, but only how and to a lesser extend who.

Neighbourhood’s Online

I found an interesting blog

Networked Neighbourhoods

which reminded me that I have been doing localised web sites for years, from my very first site Blaby.net.

I got to this via an article I chanced upon in the Joe Public Blog

On the Guardian web site

The piece claimed that there was a ‘new culture of localism’.  Well, there is of course, nothing new about localism, not even on the web. Only a couple of years after the world wide web took off, I put up my first web site, which was about the district of Leicestershire where I lived. I called it ‘Blaby on the Net’ and it brought together information about the local area.

The article on the Guardian site explored how the Internet is giving local people a voice.  That reminded me of the recent meetings I have been going to called ‘Amplified Leicester’, where people have been talking about how they are getting activists in very small communities to make use of the web as a way of connecting together and giving themselves a voice.

Finding a voice via the Internet, the authors argue, gives people power to influence decision-making. Well, nothing new about that and certainly this has been a feature of life on the ‘Net for the last couple of decades.  I did however recognise the issues that the authors of this recent study have uncovered. 

The small, localise web sites that I set up were about local information rather than offering interactive portals. I only ever produced flat-bed sites but because they were often the only sites for that area, a lot of people have read them, often from around the world.

Sites such as Stoney Stanton Village and Narborough and Braunstone Town readily came up in the search engines and were for a while the only content available for these neighbourhoods.

Fortunately the web no longer requires web designers to make sites and if you want to put your stuff up you no longer need to learn HTML. Instead you can now set up a blog (like this one on WordPress) in a couple of minutes.

All of this does offer the opportunity for local people to talk to each other as well as express their views to people in the wider political system. In that respect, the Internet now plays a real and prominent role in democracy (broadly defined.)

Thinking about another localised site that I run – ArtsinLeicestershire – gathers together a wide range of information and articles about the many shapes and forms of artistic life in the city of Leiester and county of Leicestershire.

As a result of editing that site, I now get asked to comment on arts issues by the BBC, on a fairly regular basis. Which is great, because every time I go on air, our web site gets a spike in its hits. It’s good to see that webzines are taken at least as seriously as traditional paper-based journals.