How do you make sure royalties reach the right creators? But without ripping off those who pay the royalties? Those are the questions asked by the Music Venue Trust (MVT) in the latest edition of its #LastSafeSpace podcast.
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Former Iron Maiden drummer Nicko McBrain is to step up to the microphone on a spoken word tour to promote his upcoming autobiography.
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Samantha Fish has never been one to play it safe, and ‘Paper Doll Live’ finds her in full command of her blues-rock arsenal: snarling, soulful and utterly electrifying. Recorded at the Bijou Theatre in Knoxville, Tennessee, the album thrives on immediacy, turning a concert set into a vivid portrait of an artist whose songs seem to grow even more dangerous and dynamic on stage.
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There can be no doubt that few, if any, other festivals are as committed to or invested in the cultivation and development grassroots metal scene quite as heavily as Bloodstock, as evinced by its annual #Metal2TheMasses showcase of the finest rising talent, which this year alone offers the invaluable opportunity for bands from 30 different locations across the Über Kingdom, and beyond, to burst out of their native environments and onto at least one, and hopefully more, bigger stages.
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A new initiative aims to test whether current royalty distribution models accurately reflect the music performed in grassroots music venues and ensure that both the venues and artists are fairly treated.
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