Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK. She has published over 20 books on film and popular music, including Popular Music in the Post-Digital Age, with Les Gillon and Tony Rigg (Bloomsbury, 2018). Les Gillon is Principal Lecturer at the University of Central Lancashire, UK. He is the author of The Uses of Reason in the Evaluation of Artworks: Commentaries on the Turner Prize (2017). Tony Rigg is a music industry professional and educator affiliated with the University of Central Lancashire, UK. He has occupied senior management roles for market-leading companies including Operations Director for Ministry of Sound and has extensive experience working in areas relating to the social consumption of music.
This collection adds highly informed and insightful perspectives to the growing body of work focussed on a long neglected area of popular music studies. It should be an essential text for the international scholarly communities investigating the multi-disciplinary field of the live music industries. * Martin James, Professor of Creative and Cultural Industries, Solent University, UK * An international collection of possibilities that shows us live music has a robust and exciting future. With perspectives ranging from the commercial to the esoteric, the political and technical, this book explores the boundaries and current debates of what live music is and can be. * Cat Hope, Professor of Music, Monash University, Australia, and author of Sounding Art (2017) * This volume provides an engaging introduction to the culture and business of popular music performance. It shows how the term 'live music' has become a key concept in pop aesthetics and inspires analyses of fascinating developments in production and consumption. I applaud the editors for making the topic accessible to a wider readership and bringing new and relevant voices into the conversation. * Fabian Holt, Associate Professor, Department of Arts and Communication, University of Roskilde, Denmark, and author of Everyone Loves Live Music: A Theory of Performance Institutions (2020) *