Heliotrope Architects的动态

Tips for those of you ready to start getting booked.

Many hospitality executives wonder if live entertainment is really worth activating in their space. Well, according to the numbers, 87% of Nashville hospitality concepts are engaging with local DJs, songwriters, bands and other forms of live music. The answer is yes, it's worth it, but only if you do it right. A thoughtful music program can increase brand awareness in the local market, support marketing, drive online presence, and create opportunities to collaborate with partners and sponsors. Don't be the 13% and don't do it without intention. When executed properly, live entertainment can make all the difference in the success and failure of your hospitality concept. #LiveEntertainment #HospitalityConcepts #BrandAwareness #CollaborationOpportunities

Can grassroot venues and culture survive in late capitalism? It's certainly testing times, especially with everyone navigating the current cost of living crisis. Until we see some societal changes (particularly around landlord and corporate dominance), there are some very interesting ideas being trialled to help preserve grassroot music spaces such as The Music Venue Trust's property ownership scheme, and Swansea Arena's ticket levy. Some of my gloomier points were included in this article ?? but it's also great to hear of the positive actions taken to preserve GMVs which are a vital part of nurturing talent, community and culture in any town/city. https://lnkd.in/e3kEZAmr

The Department of Justice has claimed Live Nation’s practices have purposely kept out competitors, leading to ticket price increases and worse service. These practices have led to Attorney General Merrick Garland pushing the courts to break up the company. Live Nation has discredited these claims, saying they are “absurd” and ignoring other factors leading to rising ticket prices. Live Nation works with its subsidiary Ticketmaster to hold concerts, sell tickets, and own venues. It owns 250 venues in the United States and manages 60% of concert promotions. It also controls 80% of ticket sales. Live Nation controls most of the live music industry, and the United States is working to break up the company to allow better ticket prices and availability for consumers. #TheSocialTalks #LiveNation #Ticketmaster #MusicIndustry

Very interesting article that I just found. Pitchfork's annual music festival in Chicago is not going to return in 2025 after 19 years of having the festival. Pitchfork did not state any reasons on why they canceled the festival, but one theory could be financial issues, due to inflation and the rising costs to put on a big festival. They also didn't say if they were going to be hosting the festival, like in Paris, London, or Mexico City; like in years past. David Philp, I think you would like this article. Check it out! #musicbiz #livemusic #livemusicnews

In 2017 I drove from Nashville to Huntsville for the first time to meet Mayor Tommy Battle and his EcDev team, including Shane Davis and Dennis Madsen, AICP. A few months later, work began on a music audit. In 2024, one of the city's investments as part of its commitment to music and workforce development, The Orion Amphitheater, is named one of the best venues in the world by Billboard. This is the culmination of a lot that began with Sound Diplomacy and RCP Companies organizing a public event to launch the music strategy work. - The city has a full-time music officer, Matt Mandrella - There is a functioning, engaged music board - The downtown venue, the Von Braun Center was redeveloped. - Live music licensing and zoning has been reformed - A music export program was launched to support local musicians who tour - New music-led developments are ongoing (not just the Orion) - A new 30,000 festival is launching in 2024 - Music Cities Convention was hosted by Huntsville in 2023. - A documentary, the 7-2 Experience, is being launched. - Global investment has been brought to the region, through Ben Lovett, Ryan Murphy and tvg hospitality, as well as many others, like Red Mountain Entertainment, Fame Recording Studios and the work of Codie G.. There is a lot more here. That's why I wrote a chapter of my book (https://bit.ly/shainbook) on Huntsville. Nor is Huntsville the only place worth celebrating in the US that has, over the last few years, taken music very seriously (there are many, from Fort Worth to Tulsa, Madison to Boise, Northwest Arkansas to Charlotte). But this shows that a lot can happen in a short period when music is taken seriously, there's a dedication to data, and a willingness to invest. I am now on a mission to demonstrate that this can happen anywhere because it is happening everywhere. Culture is being built in, rather than bolted on to how to build, change, adapt, and grow. And this is something to celebrate. https://lnkd.in/gyqqzSA3

A recent Los Angeles Times article shined a spotlight on how the creators of the Outside Lands Music and Arts Festival are stepping up their game to revitalize San Francisco’s cultural heartbeat. Here are some key takeaways: ?? Festival Expansion: Outside Lands is growing, expanding its reach and frequency to invest progressively more and more energy into the city’s arts and entertainment scene. This bold move aims to attract an ever-increasing number of visitors and reinvigorate the cultural vibe of San Francisco. ?? Economic Boost: From tourism to supporting local businesses, the festival is making a significant impact on the local economy. It’s a powerful example of how cultural events can drive economic growth and create opportunities for the community. ?? Community Connection: The creators are doubling down on community engagement, offering platforms for emerging artists and making sure the festival stays connected to the people who call San Francisco home. ?? Sustainable Innovation: With an eye on the environment, Outside Lands is incorporating more sustainable practices, setting a new standard for eco-friendly events. This strategic push by Outside Lands isn’t just about throwing a great festival—it’s about strengthening the fabric of San Francisco itself and solidifying the festival's place as a major force in the world of music and arts. ?? #MusicFestivals #SanFranciscoRevival #OutsideLands #CulturalImpact #Sustainability

?? A Ticket to the Future: Securing Bristol’s Music Legacy The newly-released A Ticket to the Future report outlines a bold vision to create Bristol's first Music Fund—an initiative designed to invest in the city’s iconic music sector. At its heart is an innovative 1% ticket fee on music events, paid at the point of sale, to support grassroots venues, artists, and promoters. A recent survey found overwhelming public support: 93% of respondents are happy to pay the fee, with 96% saying it would have "no effect" or even make them "more likely to buy a ticket," knowing the proceeds benefit Bristol’s music scene. Rooted in community power, the fund has the potential to generate ￡400k to ￡1m annually—providing crucial support at a pivotal time. This report also comes as Motion, one of the UK’s top music venues, faces lease renewal challenges in 2025, further highlighting the urgent need for sustainable solutions to protect Bristol's cultural ecosystem. ?? https://lnkd.in/eqgDgkCu #BristolMusic #GrassrootsVenues #MusicInnovation #CulturalSustainability #BristolNights #MusicFunding Bristol Nights

As Ultra is happening on the East Coast, Beyond Wonderland unfolds on the West, and we were curious about the agencies behind this years Beyond Wonderland 2024 line-up. We used Booking Agent Info to research the agencies behind this years festival. (With a bit of rounding for simplicity) Interestingly, the top two agencies representing artists at Ultra are the same ones behind the lineup for Beyond Wonderland. United Talent Agency and Wasserman claim over half the artists at Beyond Wonderland, with UTA at the forefront with 30%, closely shadowed by Wasserman’s impressive 24%. A whopping 37% of the festival’s diversity is credited to a mosaic of other agencies, along with artists who handle their bookings in-house. This portion is not just significant, but it’s the very heart of the festival’s variety. Creative Artists Agency (CAA)?represent 2% of the lineup, but that 2% are powerhouses The Chainsmokers and Alesso. Similarly, Corson Agency and Wright Bookings each account for 2%. David Lewis Productions secures 3% of the lineup, a figure that mirrors their representation at Ultra Music Festival. It should be noted that we excluded 8 artists from our dataset who we didn’t have data For more industry insights, follow?Booking Agent Info #Beyond2024?#BeyondWonderland2024?#AgencyBreakdown #BookingAgentInfo?#MadTeaParty