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Chris  Anderton

Dr Chris Anderton

Associate Professor

School of Media Arts and Technology

023 8201 6349 ext. 6349 Room no. JM228

Biography

Dr Chris Anderton is an Associate Professor in Cultural Economy and course leader for both BA (Hons) Music Promotion  and BA (Hons) Music Management. He teaches and researches a range of topics in music business, culture and history including: the recorded and live music industries, music festivals, music history, music culture, music marketing, music cities, events management, creative entrepreneurship, the politics of music, and the intersection of fan practices and intellectual property law. He also tutors students on their final year individual and group projects, and supervises postgraduate students.

Over the past ten years he acted as co-executive producer of the annual SMILEfest event, which brings the music industries to Solent University amid a month of exciting industry-facing activities, guest speaker talks, live concerts and club nights organised by and with students on the BA (Hons) Music Promotion, BA (Hons) Music Management and BA (Hons) Popular Music Journalism courses. SMILEfest has now transformed into SO: Music City – an exciting extension of the project that sees our students and staff working closely with local music industry organisations, venues and musicians. He also founded and manages Solent Music (solentmusic.com), which arranges industry guest speakers and seminars, manages work experience opportunities, and promotes the fantastic work of students across the range of music courses at Solent.

In 2007, Chris completed his doctoral thesis at the University of Wales, Swansea, entitled '(Re) Constructing Festival Places', and in 2009, he became a fellow of The Higher Education Academy. He obtained a first class degree at University of Wales, Swansea, and a distinction for his MBA Music Industries course at the University of Liverpool. He has presented at numerous conferences around the world and published internationally, including Understanding the Music Industries (Sage, 2013) and Music Festivals in the UK: Beyond the Carnivalesque (Routledge, 2019). He is currently contracted to Sage for the book Music Management, Marketing and PR: Creating Connections and Conversations (with James Hannam and Johnny Hopkins), to Bloomsbury Academic for the edited collection Media Narratives in Popular Music (with Martin James) and to Routledge for the edited collection Researching Live Music: Gigs, Tours, Concerts and Festivals (with Sergio Pisfil of University of Edinburgh).

His current research interests include:

  • The cultural economy, history, marketing and geography of music festivals and live music concerts and events.
  • The future of the music industries – including the impacts of digitization, the changing interactions of artists and audiences, and matters pertaining to copyright, bootlegging and piracy.
  • The role of music heritage and local coordination as related to the cultural cities/music cities agenda.
  • The ‘hidden histories’ of popular, underground and niche music genres.

Further information available at: http://solent.academia.edu/ChrisAnderton.

Taught courses

Further information

  1. Industry experience

    Chris has been co-executive producer of the annual SMILE Festival (SMILEfest) since 2011, and in that time has been instrumental in extending...
    Chris has been co-executive producer of the annual SMILE Festival (SMILEfest) since 2011, and in that time has been instrumental in extending the scope of the festival from a one-day guest speaker conference into a month-long celebration of live music and club nights. Chris also created the Solent Music organisation, which exists to support student creativity and experience through promoting the work of music and music media students at the University, and manages work experience positions with a range of local, regional and national companies. He is also in the process of setting up a record label for the University, and has previously promoted live gigs in Southampton. 
  2. Research interests

    Chris' current research interests include the cultural economy, history, marketing and geography of music festivals and the live music industries...
    Current research interests include the cultural economy, history, marketing and geography of music festivals and the live music industries; the future of the music industries – including the impact of digitisation, the changing interactions of artists and audiences, and matters pertaining to copyright, bootlegging and piracy; and the development, legacy and contemporary renaissance of 'progressive' rock and other ‘underground’ or niche music. A number of conference presentations and publications are currently in preparation, including a single-authored book which explores the British music festival market, and collaborative work on music marketing, public relations and promotions.
  3. Recent publications

    Chris' recent publications include several articles in academic journals. For more information, follow the link below...

    Anderton, C. (under contract) 'Music Festivals in the UK'. Aldershot: Ashgate.

    Anderton, C. (due for publication in 2016) ‘Music Festivals as ‘Cyclic Places’: Fairport’s Cropredy Convention’. In J. Springer and T. Dören (Eds.), Draußen: Zum neuen Naturbezug in der Popkultur der Gegenwart. Transcript verlag.

    Anderton, C. (2015) ‘Branding, sponsorship and the music festival’, in G. McKay (ed.) The Pop Festival: History, Music, Media, Culture. London: Continuum. 

    Anderton, C., Dubber, A. and James, M. (2013) 'Understanding the Music Industries'. London: SAGE Publications.

    Anderton, C. (2013) ‘Portfolio careers’, In A. Dubber (ed.), The 360 Deal. Leanpub

    Anderton, C. (2011) ‘Music Festival Sponsorship: Between Commerce and Carnival’, Arts Marketing – An International Journal, Vol. 1, Issue 2, pp. 145-58.

    Anderton, C. (2010) ‘A many-headed beast: progressive rock as European meta-genre’, Popular Music, Vol. 29, Issue 3, 2010, pp. 417-435. 

    Anderton, C. (2009) 'Full grown from the head of Jupiter'? Rethinking the history of progressive rock and its European contributions' in V. Kurkela and L. Väkevä (Eds.), 'De-Canonizing Music History', pp. 97-112. Newcastle-upon-Tyne: Cambridge Scholars Publishing. 

    Anderton, C. (2009) 'Commercialising the Carnivalesque: the V Festival and Image/Risk Management', Event Management: An International Journal, Vol. 12, Issue 1, pp. 39-51. 

    Anderton, C. (2006) 'Beating the Bootleggers: fan creativity, 'lossless' audio trading, and commercial opportunities' in M.D. Ayers (Ed.), 'Cybersounds: Essays on Virtual Music Culture', pp.161-184. New York: Peter Lang Publishing Inc.

  4. Recent conferences

    Follow the link below to see a list of Chris' recent conferences...

    The Branded Landscapes of Music Festivals in the UK: Sponsorship, Ideology and the Rural’ – at the RGS-IBG Annual International Conference at the Royal Geographical Society, University of Exeter, September 2015,

    Invited panel discussant - at the BBC Radio 1’s Big Weekend: Popular Music, Festival, Media conference, University of East Anglia, May 2015.

    Curating, Collecting and Archiving: Fan Labour and the Conflicts of Copyright’ – at the Popular Music Fandom Conference, University of Chester, April 2015.

    Seven Years of SMILEfest: a Case Study in Innovation, Collaboration and Enterprise’ – at the 4th Solent Learning and Teaching Community Conference, Southampton Solent University, March 2015.

    Fire in Harmony: the Rise and Fall of the 1980s UK Progressive Revival’ – at the First International Conference of the ACADPROG Network, Universite de Bourgogne, Dijon, December 2014.

    Pseudo- Record Labels: Creative Fandom and Networks of Distribution’ – at the One Century of Record Labels – mapping place, stories and communities of sound conference,  Newcastle University, November 2014.

    Between Commerce and Carnival: Corporate Sponsorship and the outdoor Rock/Pop Music Festival Sector’ – at the Business of Live Music conference, University of Edinburgh, April 2011.

    Reconsidering the ‘Symphonic Orthodoxy’: Progressive Rock’s Formative Years in Europe’ – at the IASPM – UK and Ireland conference, Cardiff University, September 2010.

    Early European Contributions to the Progressive Rock Meta-Genre: Krautrock and Rock Progressivo Italiano’ – at the RGS-IBG Annual International Conference at the Royal Geographical Society, London, September 2010.

    Rethinking ‘progression’: progressive rock since the late 1970s’ – at the IASPM International Conference, University of Liverpool, July 2009.

    A weekend in the country: Fairport’s Cropredy Convention, the rural idyll, and Englishness’ – at the IAPSM – UK and Ireland conference, University of Glasgow, September 2008.

    Out of place in the country? Music festivals, rurality, and the English country village: Fairport’s Cropredy Convention’ – at the RGS-IBG Annual International Conference at the Royal Geographical Society, London, September 2008. 

    'Full grown from the head of Jupiter'? Rethinking the history of progressive rock and its European contributions' – at the De-Canonizing Music Histories conference at the Sibelius Academy, Helsinki, November 2007. 

    'Commercialising the Carnivalesque: the V Festival and Image/Risk Management' – at the Exploring Festival Economies conference, City University, London, October 2007.

  5. Work in progress

    In addition to ongoing presentations and upcoming publications (as noted above), Chris is also working on a number of other projects. These include...
    In addition to ongoing presentations and upcoming publications (as noted above), Chris is also working on a number of other projects. These include a book proposal related to contemporary music marketing practices (with Martin James and Johnny Hopkins), and a project aimed at discussing the development, use and meaning of the ‘progressive’ in rock music (with Chris Atton of Edinburgh Napier University). He is also investigating the potential for investigating ‘lost’ music, histories and scenes: those that existed largely outside of the mainstream media and music industries and economies, yet provided important socio-cultural, political and aesthetic value to those involved in them. The first fruits of this research will be an article on the progressive rock revival of the early 1980s. Work on developing Solent Music and SMILEfest continues, as do new projects to create both a functioning record company and a live promotions company at the University. Finally, Chris continues to develop research interests around active fandom and fan labour, as well as sponsorship, branding and marketing related to the live music industries and festivals.