Chris Anderton is Associate Professor in Cultural Economy at Solent University, Southampton. He is the author of Music Festivals in the UK: Beyond the Carnivalesque (2019) and co-author of both Understanding the Music Industries (2013) and Music Management, Marketing and PR: Creating Connections and Conversations (forthcoming). He is also co-editor of Media Narratives in Popular Music (forthcoming) and has guest edited issues of the journals Rock Music Studies and Arts and the Market.Sergio Pisfil is a Lecturer and researcher at Universidad Peruana de Ciencias Aplicadas. His PhD, gained at the University of Edinburgh under the supervision of Simon Frith, focused on the history of live sound and its connections to rock music between 1967 and 1973. His research interests include live music, and the history and esthetics of popular music. His work has been published in various edited collections, including The Bloomsbury Handbook of Rock Music Research, Gender in Music Production, and the forthcoming Oxford Handbook of Progressive Rock; and in journals such as Popular Music and Society and Communiquer (forthcoming). He is currently guest editing a special issue on live music for the journal Arts and the Market.

• List of illustrationsList of contributorsAcknowledgments Live Music Studies in PerspectiveChris Anderton and Sergio Pisfil PART I: Promotion Festivals, Free and Unfree: Alex Cooley and the American Rock FestivalSteve Waksman As Long As They Go Home Safe: The Voice of the Independent Music Festival Promoter Danny Hagan Under the Cover of Darkness: Situating "Covers Gigs" within Live Music Ecologies Pat O’Grady Showcase Festivals as a Gateway to Foreign MarketsPatryk Galuszka Disruption and Continuity: Covid-19, Live Music, and Cyclic SocialityChris Anderton PART II: Production Live Sound MattersChristopher James Dahlie, Jos Mulder, Sergio Pisfil, and Nick Reeder Mobile Spectacle: Es Devlin’s Pandemonium Tour DesignGlyn Davis Fulfilling the Hospitality Rider: Working Practices and Issues in a Tour’s Supply ChainGabrielle Kielich Vocaloid Liveness? Hatsune Miku and the Live Production of the Japanese Virtual Idol Concerts Kimi Kärki Part III: Consumption Making Music Public: What Would a Sociology of Live Music Promotion Look Like?Loïc Riom Dead Stars Live: Exploring Holograms, Liveness, and AuthenticityKenny Forbes Live … as You’ve Always Heard It Before: Classic Rock, Technology, and the Re-positioning of Authenticity in Live Music Performance Andy Bennett Approaching the Live from a Distance: The Unofficial Led Zeppelin ArchiveStephen Loy Part IV: Policy Music Cities, or Cities of Music?Christina Ballico and Dave Carter State of Play: Tensions and Interventions in Live Music Policy Adam Behr "Por Más Músicas Mujeres en Vivo!": The Live Music Female Quota Law and Its Implications for Argentine Music Festivals Sarah Lahasky Beyond Live Shows: Regulation and Innovation in the French Live Music Video EconomyGérôme Guibert, Michaël Spanu, and Catherine RudentIndex

Chris Anderton is Associate Professor in Cultural Economy at Solent University, Southampton. He is the author of Music Festivals in the UK: Beyond the Carnivalesque (2019) and co-author of both Understanding the Music Industries (2013) and Music Management, Marketing and PR: Creating Connections and Conversations (forthcoming). He is also co-editor of Media Narratives in Popular Music (forthcoming) and has guest edited issues of the journals Rock Music Studies and Arts and the Market.Sergio Pisfil is a Lecturer and researcher at Universidad Peruana de Ciencias Aplicadas. His PhD, gained at the University of Edinburgh under the supervision of Simon Frith, focused on the history of live sound and its connections to rock music between 1967 and 1973. His research interests include live music, and the history and esthetics of popular music. His work has been published in various edited collections, including The Bloomsbury Handbook of Rock Music Research, Gender in Music Production, and the forthcoming Oxford Handbook of Progressive Rock; and in journals such as Popular Music and Society and Communiquer (forthcoming). He is currently guest editing a special issue on live music for the journal Arts and the Market.

• List of illustrationsList of contributorsAcknowledgments Live Music Studies in PerspectiveChris Anderton and Sergio Pisfil PART I: Promotion Festivals, Free and Unfree: Alex Cooley and the American Rock FestivalSteve Waksman As Long As They Go Home Safe: The Voice of the Independent Music Festival Promoter Danny Hagan Under the Cover of Darkness: Situating "Covers Gigs" within Live Music Ecologies Pat O’Grady Showcase Festivals as a Gateway to Foreign MarketsPatryk Galuszka Disruption and Continuity: Covid-19, Live Music, and Cyclic SocialityChris Anderton PART II: Production Live Sound MattersChristopher James Dahlie, Jos Mulder, Sergio Pisfil, and Nick Reeder Mobile Spectacle: Es Devlin’s Pandemonium Tour DesignGlyn Davis Fulfilling the Hospitality Rider: Working Practices and Issues in a Tour’s Supply ChainGabrielle Kielich Vocaloid Liveness? Hatsune Miku and the Live Production of the Japanese Virtual Idol Concerts Kimi Kärki Part III: Consumption Making Music Public: What Would a Sociology of Live Music Promotion Look Like?Loïc Riom Dead Stars Live: Exploring Holograms, Liveness, and AuthenticityKenny Forbes Live … as You’ve Always Heard It Before: Classic Rock, Technology, and the Re-positioning of Authenticity in Live Music Performance Andy Bennett Approaching the Live from a Distance: The Unofficial Led Zeppelin ArchiveStephen Loy Part IV: Policy Music Cities, or Cities of Music?Christina Ballico and Dave Carter State of Play: Tensions and Interventions in Live Music Policy Adam Behr "Por Más Músicas Mujeres en Vivo!": The Live Music Female Quota Law and Its Implications for Argentine Music Festivals Sarah Lahasky Beyond Live Shows: Regulation and Innovation in the French Live Music Video EconomyGérôme Guibert, Michaël Spanu, and Catherine RudentIndex

Chris Anderton is Associate Professor in Cultural Economy at Solent University, Southampton. He is the author of Music Festivals in the UK: Beyond the Carnivalesque (2019) and co-author of both Understanding the Music Industries (2013) and Music Management, Marketing and PR: Creating Connections and Conversations (forthcoming). He is also co-editor of Media Narratives in Popular Music (forthcoming) and has guest edited issues of the journals Rock Music Studies and Arts and the Market.Sergio Pisfil is a Lecturer and researcher at Universidad Peruana de Ciencias Aplicadas. His PhD, gained at the University of Edinburgh under the supervision of Simon Frith, focused on the history of live sound and its connections to rock music between 1967 and 1973. His research interests include live music, and the history and esthetics of popular music. His work has been published in various edited collections, including The Bloomsbury Handbook of Rock Music Research, Gender in Music Production, and the forthcoming Oxford Handbook of Progressive Rock; and in journals such as Popular Music and Society and Communiquer (forthcoming). He is currently guest editing a special issue on live music for the journal Arts and the Market.

• List of illustrationsList of contributorsAcknowledgments Live Music Studies in PerspectiveChris Anderton and Sergio Pisfil PART I: Promotion Festivals, Free and Unfree: Alex Cooley and the American Rock FestivalSteve Waksman As Long As They Go Home Safe: The Voice of the Independent Music Festival Promoter Danny Hagan Under the Cover of Darkness: Situating "Covers Gigs" within Live Music Ecologies Pat O’Grady Showcase Festivals as a Gateway to Foreign MarketsPatryk Galuszka Disruption and Continuity: Covid-19, Live Music, and Cyclic SocialityChris Anderton PART II: Production Live Sound MattersChristopher James Dahlie, Jos Mulder, Sergio Pisfil, and Nick Reeder Mobile Spectacle: Es Devlin’s Pandemonium Tour DesignGlyn Davis Fulfilling the Hospitality Rider: Working Practices and Issues in a Tour’s Supply ChainGabrielle Kielich Vocaloid Liveness? Hatsune Miku and the Live Production of the Japanese Virtual Idol Concerts Kimi Kärki Part III: Consumption Making Music Public: What Would a Sociology of Live Music Promotion Look Like?Loïc Riom Dead Stars Live: Exploring Holograms, Liveness, and AuthenticityKenny Forbes Live … as You’ve Always Heard It Before: Classic Rock, Technology, and the Re-positioning of Authenticity in Live Music Performance Andy Bennett Approaching the Live from a Distance: The Unofficial Led Zeppelin ArchiveStephen Loy Part IV: Policy Music Cities, or Cities of Music?Christina Ballico and Dave Carter State of Play: Tensions and Interventions in Live Music Policy Adam Behr "Por Más Músicas Mujeres en Vivo!": The Live Music Female Quota Law and Its Implications for Argentine Music Festivals Sarah Lahasky Beyond Live Shows: Regulation and Innovation in the French Live Music Video EconomyGérôme Guibert, Michaël Spanu, and Catherine RudentIndex