People who work in music are creative and they need to do creative things to keep it together. So be creative, make events happen, not just for the money – but for well-being as well.

I posted to Facebook on my phone about applying to Arts Council England for a grant from the Culture Recovery Fund – it wasn’t going to be an official blog post but the reaction was so overwhelming and generous that I went ahead and posted here as well… as follows…

Booking agents may have thought their jobs were safe until the end of the Coronavirus Job Retention Scheme – yet many agencies are making redundancies now in August 2020. Why is it they can’t foot the bill now and keep all their staff employed until the scheme ends?

Should live-streamed gigs be recorded and made available afterwards? In this blog, I touch on the importance of how a unique experience in time is more valuable to the audience and the artist if it is kept in the moment.

In today’s blog, I briefly describe three real-life ticketed virtual events that we have going on at Midnight Mango. Each one follows a different model. Each one is viable and will make an income for the artist, promoter, venue and agent.

The new technology which allows streaming is innovative. However, we need innovation in the way it is put to use to really exploit its full potential. In this blog, I discuss another new idea of how broadcasting and receiving can be used by venues.

Midnight Mango Introduces a new platform called Music At My House. It’s a B2C operation delivering one-hour acoustic performances to houses and gardens after July 4th. It’s a bold step that seeks to work safely within the regulations and get some of our artists back to work.

It’s a real special occasion to go and see your artist perform live. Streamed live concerts will never replace that entirely, but they have already become another offering the artist can deliver to their fans. Here I argue agents have an important role to keep the “Special” in “Occasion”!

In this article I discuss the need for small venues to become skilled at delivering new streaming technology and how this will benefit them in attracting promoters and artists to their stages.

I like busking, but throwing up another front room performance with a digital tip jar is digital busking and there is only so much busking I can take before it becomes tiresome. In this article I propose small venues are going to need to work in both the physical and the digital space to survive.