Nyshka Chandran writes for Resident Advisor on how it’s time to get yourself acquainted with resident DJ’s.
The pandemic has devastated nightlife across the globe but as the sector recovers in parts of East Asia, a healthier ecosystem is poised to emerge.Across East Asia’s dance music communities, it’s no secret that overseas artists draw a bigger crowd than regular club nights. Organizers strive to balance the ratio of international and local artists at events, but the average clubber is more likely to buy a ticket if a popular European or American name is playing. COVID-19 could change this dynamic.
After a year of hard work and close collaboration we are excited to share the official report of The Creative Footprint (CFP), Tokyo edition. CFP is a sociocultural initiative which maps and indexes creative space to measure the impact of nightlife and cultural activity on cities.
The CFP Tokyo report has been completed at a crucial time in the development of Tokyo’s nighttime industry. With the survey conducted during 2019, the resulting study can now provide a point of comparison in understanding and measuring the impact of the global pandemic on the strength and potential of Tokyo’s cultural activity after dark.
The study also includes detailed recommendations to support and enrich this cultural activity, the implementation of which will prove more important than ever during the coming months and years of recovery.
Nighttime industries worldwide are in a particularly vulnerable position due to COVID-19 measures; with so many businesses unable to reopen, many of the ‘creative spaces’ that CFP seeks to document are at risk of disappearing for good. Detailed surveys of these spaces are an essential first step in developing plans for their recovery, and ongoing survival.
As many global cities embark on a process of cautious reopening, there is a unique opportunity for a ‘reset’ in thinking and tactics of both governments and nighttime industry stakeholders. With initiatives like Creative Footprint Tokyo, and The Global Nighttime Recovery Plan, Vibelab hopes to empower cities to seize this opportunity, and ensure the survival and growth of their nighttime industries and creative cultures.
Please download the study by signing up here (pdf, 14,9 MB)
Chal Ravens writes for The Guardian about the virtues of Bandcamp.
After speaking to Founder Ethan Diamond, the ” CEO of Bandcamp about what it means to put artists before listeners, and how Bandcamp became the rarest of Silicon Valley stories; a slow burn success.
“They waive their fees, raise cash for Juneteenth and champion everything from vapourware to eco-grime.
‘Artists have to come first’ … Ethan Diamond, founder of Bandcamp.
“A lot of independent labels waived their fees as well. Some gave to food banks and other organisations. Those labels aren’t big corporations … that was amazing to see”
In some countries, clubs are cautiously reopening. In others, people are hitting up illegal raves. Gabriel Szatan explores what the dance music landscape will look like in the immediate aftermath of coronavirus.
“Everywhere you look, clubland is thawing and green shoots of recovery are sprouting.”
The state government has scrapped a long-standing freeze on new liquor licences for pubs, clubs and bottle shops in Sydney’s CBD and Kings Cross, in a push to reinvigorate the city’s night-time economy once COVID-19 restrictions are lifted.
The changes, which take effect on December 1, mean venues will be able to apply to open without having to purchase a liquor licence from an existing venue, which had created a competitive and expensive market for licences.
In Kings Cross and some parts of the CBD, the freeze had been in place for 11 years. As part of the 2014 lockout laws it was extended across the whole CBD.
In an article first published in May, Philip Kolvin QC and Alicia Scholer presented a detailed and alarmingly grave analysis of the precarious position global nightlife industries find themselves in, what circumstances created this and the drastic re-thinking required to ensure the future of these industries.
One month later, the article’s projections of the impact and recovery of COVID-19 have already proven prophetic, with many short-term predictions already becoming a reality as countries push to reopen their economies.“
“The social economy needs to be seen as an asset you do something for, not a problem you do something about.”
Since its launch back in March 2020, international live-streaming channel UNITED WE STREAM has turned into something of a phenomenon.
The national series of events will be powered by Electronic Music Conference and Sounds Australia, United We Stream Australia is set to highlight the diversity of electronic music culture in Australia.
EMC Director Jane Slingo said, “By initiating a collaboration within the Australian electronic music community of artists; promoters; venues; clubs and supporting partners, United We Stream Australia fosters solidarity between the various scenes that drive electronic music and club culture nationally. Australia has so many amazing scenes that each have their own flavour and it’s exciting to be a part of this global movement to highlight the wonderful diversity of electronic music culture in this country.”
For more information read the article in Purple Sneakers
Follow & attend the virtual event on United We Stream Australia on Facebook
“Zurich’s nightlife scene is hoping that politicians will start to act more decisively and provide it with more support than was the case at cantonal level when this crisis began. Politicians cannot leave it up to organisers to decide whether or not to hold an event with up to 1,000 people. If you love Zurich’s nightlife, why not support your favourite club by buying vouchers or supporting a crowdfunding appeal? Together, we’ll all get through this crisis. And afterwards we’ll all dance together!”
Promoter Dave Poe of New York-based Patchwork Presents, and Jessica Gordon from Broadberry Entertainment Group in Richmond, Virginia, have come together to form the Independent Promoter Alliance in light of COVID-19 and its dire effects on the live music industry
“At the end of the day, Jessica and I wanted to organize something so it gives people a place to go,” Poe tells Billboard. “It is really for the promoters and talent buyers and venue owners who don’t talk to other entities and are doing it on their own. Maybe it will help them just a little bit to hear other people who are all in the same boat and what everyone is doing to weather the storm, because it is going to be rough.”Read the full article in Billboard
Independent promoters, venue owners and talent buyers can register for the group here with more information to come.
In online publication Talkhouse, – an outlet for musicians, actors, filmmakers- artist John Colpitts talks to musicians from China, Italy, and South Korea about life in lockdown, the unique scenarios they’ve lived through, and what their experiences might have to teach us a few weeks later.
An interesting point to consider comes from South Korea, who up until Sunday March 22, had no official shut down of live performances or gatherings. The audiences decreased but the performers were still paid their fees. This is because the South Korean health institute was extremely thorough with testing and the digital tracking of the disease.
“The South Korean music economy was able to walk this razor’s edge between closure and partial openness through heavily investing in data and tracking. ”John Colpitts, Talkhouse