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.
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.
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.
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.
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.