and all the bands from Manchester where I’m from, like The Smiths, The Stone Roses and New Order. I love that world of music, it’s a big part of my life and many people’s lives, and you would imagine it would be a big part of the ceremony because pop music is freeing and inspirational.” The growth and professionalism of
large-scale live events has played a signifi cant part in this success story. In 2009, revenues generated by live music in the UK – and particularly the big festivals and arenas like London's O2, now the world’s most successful ticketed venue – exceeded those from recorded music for the fi rst time ever. This evolution is evident in the sheer diversity of events now hosted across all regions of the UK. Alongside long- running festivals like Glastonbury, Reading, Leeds, T in the Park and Womad, are a number of well-devel- oped brands, such as Sonisphere, Summer Sundae, Download, Bestival, Green Man and Creamfi elds. There are events specifi cally for fam- ilies (Wychwood, Camp Bestival); for foodies (Feastival, Harvest), and for every type of specialist interests (All Tomorrow’s Parties, Shetland Folk Festival, Southport Weekender). In coming years there will be eco- nomic pressures that threaten to check such explosive growth. The
ISSUE 4 2011 © cybertrek 2011
Music boom in Belfast Belfast's music scene has raised the city's profi le. Above, Colenso Parade on stage
Music tourists in Northern Ireland spend at least £25m a year, benefi t- ting the economy by £8m a year in GVA and sustaining the equivalent of 205 jobs. Last year, Belfast Music Week made over £1m for the city. Lord Mayor of Belfast, councillor
Pat Convery told Destination Music: “Belfast’s music receives high interna-
National Arenas Association has reported a signifi cant fall in attend- ances at music arena shows in 2010. In the US, last year’s gross sales for the Top 50 tours fell by 15 per cent. However, UK Music’s recommenda- tion of a national strategy around live music, aimed specifi cally at attracting overseas visitors, could help alleviate these pressures.
GEOGRAPHICAL DIVERSITY According to Destination Music, music tourists visiting from abroad, although small in number (5 per cent of the total) spend disproportionately more than their domestic counterparts. In fact, overseas tourists constitute 18 per cent of all music tourism revenues. If we can increase their ratio (to 10, 12, 14 per cent or more) the impact
tional praise. Our latest generation of musicians are playing a crucial role in revitalising the city which is lit up with a vibrant calendar of music festivals. “This art form is defi ning the new mood of Belfast. The fact that MTV’s Europe Music Awards will be held in Belfast in 2011 is a signifi cant endorse- ment of our current music scene.”
could be hugely signifi cant – and to all areas of the country. The largest slice of music tour-
ism revenues might be spent around London and the South East, but nowhere in the UK has a monopoly on musical talent or heritage. There are arenas and festivals in every region, while different musical scenes are always emerging.
This kind of geographical diversity has defi ned music in the UK. It's a sound as distinctive as our patchwork of accents and cultures. It's a truly national success story. With a national tourism strategy to match, we could benefi t even more from this unique and – at times – under appreciated asset. ●
Adam Webb is from UK Music Read Leisure Management online
leisuremanagement.co.uk/digital 41
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