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To better understand the growing popularity of live music, this study analyses consumers’ motivations for live music attendance. In addition to existing literature, a generic approach to audience motivations contributes to our knowledge of the growing live music industry, where venues and festivals vie for the same artists and audience. Based on a survey among visitors of live music events (n = 1131), a principal component analysis was conducted to extract six motivations for visiting live music, the Live Music Motivation Scale (LMMS). Within this scale, for all motivations, a significant difference was found between visiting concerts and festivals. People predominantly visit festivals for social and personal reasons and predominantly visit concerts for artistic reasons and the uniqueness of the live experience. This study adds to the existing literature a more generic insight in motivations for visiting live music events and a clear comparison between motivations for visiting concerts and music festivals.

__Purpose__ – This paper sets out to compare different methodologies for measuring the value(s) of live popular music and to explore the different motivations amongst a range of organisations engaged in that work. __Design/methodology/approach__ – The authors analyse how the values of live music are measured, who does it and why. Based on this analysis the authors present a model that visualises the myriad of organisations, methods, aims and objectives involved. __Findings__ – The authors identify three approaches to measuring the impact of live music (economic impact studies, mapping and censuses and social sciences and humanities) and three types of actors (industry, policy and academia). The analysis of these demonstrates that measuring live music is not a neutral activity, but itself constructs a vision on how live music ecologies function __Practical implications__ – For cultural organisations, demonstrating the outcomes of their work is important in acquiring various forms of support. The model presented in this paper helps them to select adequate methodologies and to reflect on the consequences of particular approaches tomeasuring livemusic activities. __Originality/value__ – While the number of studies measuring live music’s impact is growing, theoretical and methodological reflection on these activities is missing. The authors compare the different methodologies by discussing strengths and weaknesses. This results in a model that identifies gaps in existing studies and explores new directions for future live music research. It enhances understanding of how different ways of measuring live music affect policymaking and conceptions of what live music is and should be.

The physical and social distancing measures that have been adopted worldwide because of COVID-19 will probably remain in place for a long time, especially for senior adults, people with chronic conditions, and other at-risk populations. Teleconsultations can be useful in ensuring that patients continue to receive clinical care while reducing physical crowding and avoiding unnecessary exposure of health care staff. Implementation processes that typically take months of planning, budgeting, pilot testing, and education were compressed into days. However, in the urgency to deal with the present crisis, we may be forgetting that the introduction of digital health is not exclusively a technological issue, but part of a complex organizational change problem. This viewp

Many cities consider their live music ecologies to be a valuable asset to urban cul-ture. Many have adopted active live music policies, which is part and parcel of the trend of instrumentalization of urban cultural policies. In this paper we explore the reasons behind the increased political policy attention to live music and we will ex-amine how these policies deal with the changing landscape of live music and events and the trend of festivalisation. We argue that festivalization has become a widely applied policy configuration which has far reaching effects for urban cultures. Its implications can only be understood by looking beyond the instrumental use as an urban growth strategy or as the mere effects of the numerical increase of festivals.

In the global pop music industries, revenue models have shifted from physical record sales to streaming services and live performances. At the same time, the supply of live music performances has changed as a result of festivalization. This study aims to understand the effects of festivalization on the strategic action field (SAF) of the Dutch live music ecology. This paper is grounded in a qualitative thematic analysis based on in-depth interviews with directors of pop music venues and festivals. Contributing to the scholarly literature on festivalization we approach this concept from inside the strategic action field (SAF) of live music and place it within the context of the rapidly changing music industries. Among other results we emphasize the significant multiple value creation produced by festivals, the strategic advantages of festivals in relation to traditional music venues and the potential co-evolution within the live music action field.

Over the past decades, different theoretical perspectives have been developed that help to understand the social context in which live music is produced and consumed. Theories from the fields of sociology, cultural st