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.

• List of figuresList of contributorsIntroduction: The continuous significance of live music (Ewa Mazierska, Tony Rigg and Les Gillon, University of Central Lancashire, UK)Part One Approaches 1 Theorizing the production and consumption of live music: A critical review (Arno van der Hoeven, Erik Hitters, Pauwke Berkers, Martijn Mulder and Rick Everts, Erasmus Univeristy Rotterdam, the Netherlands)2 Challenges for the future of live music: A review of contemporary developments in the live music sector (Arno van der Hoeven and Erik Hitters, Erasmus Univeristy Rotterdam, the Netherlands)Part Two Technology3 The silent stage: The future of on-stage sound systems(Steven Kerry, Futureworks School of Media, UK)4 Networked performance as a means of transcending geographical barriers in live music performance(Duncan Gallagher, Independent Researcher, UK)5 Digital performances: Live streaming music and the documentation of the creative process (Mark Daman Thomas, University of Gloucestershire, UK) 6 Surrogate musicianship in the age of in-vitro intelligence: Redefining the live performer (Darren Moore, LASALLE College of Arts, Singapore & Guy Ben-Ary and Nathan Thompson, SymbioticA, Australia)7 ‘Death is no longer a deal breaker’: The hologram performer in live music (Alan Hughes, Univeristy of Central Lancashire, UK)Part Three Spaces 8 Sound spaces: Pop music concerts and festivals in urban environments (Robert Kronenburg, Univerisity of Liverpool, UK)9 Live music playbour: A piece of the puzzle (Les Gillon, University of Central Lancashire, UK)10 The present and the future of Polish coastal music festivals (Ewa Mazierska, University of Central Lancashire, UK)Part Four Evaluations 11 Raves in the twenty-first century: DIY practices, commercial motivations and the role of technology (Beate Peter, Manchester Metropolitian University, UK)12 The eternal course of live music: Views and experiences of an audience (Michael Tsangaris, University of Piraeus, Greece)13 Have a good night: CNBLUE, band music and the uses of live performance in K-pop (Valerie Soe, San Francisco State University, USA) Index