Anderton, C. & Pisfil, S. (eds.) (forthcoming) Researching Live Music: Gigs, Tours, Concerts and Festivals. New York: Routledge.
Anderton, C. (forthcoming) ‘Disruption and Continuity: Covid-19, Live Music, and Cyclic Sociality.’ In C. Anderton and S. Pisfil (eds.) Researching Live Music: Gigs, Tours, Concerts and Festivals. New York: Routledge.
Anderton, C. & James, M. (eds.) (forthcoming) Media Narratives in Popular Music. Bloomsbury Academic.
Anderton, C. (forthcoming) ‘"Exiles in Madison Square Garden": Critical Reception and Journalistic Narratives of Progressive Rock in Melody Maker Magazine, 1971–1976.’ In C. Anderton and M. James (eds.) Media Narratives in Popular Music. New York: Bloomsbury.
Anderton, C. Hannam, J. & Hopkins, J. (forthcoming) Music Management, Marketing and PR: Creating Connections and Conversations. London: Sage.
Anderton, C. (in press) ‘Music Festival Capitalism.’ In S. Kruger Bridge (ed.) Oxford Handbook of Global Popular Music. Oxford: Oxford University Press.
Anderton, C. (in press) ‘Music festivals, space and place.’ In G. Stahl & M. Percival (eds.) The Bloomsbury Handbook of Popular Music and Place. New York: Bloomsbury.
Anderton, C. (in press) ‘Festivals and youth.’ In A. Bennett (ed.) The Bloomsbury Handbook of Popular Music and Youth Culture. New York: Bloomsbury.
Anderton, C. (in press) ‘Clutching at straws? Progressive rock revivals of the 1980s and 1990s.’ In A. F. Moore & S. Hill (eds.) Oxford Handbook of Progressive Rock. Oxford: Oxford University Press.
Anderton, C. (2020) ‘From Woodstock to Glastonbury to the Isle of Wight: The Role of Festival Films in the Construction of the Countercultural Carnivalesque’, Popular Music and Society, Vol. 43, Issue 2, pp. 201–215.
Anderton, C. (2020) ‘Introduction to the Special Edition on Progressive Rock’, Rock Music Studies, Vol. 7, Issue 1, pp. 1-7.
Anderton, C. and Atton, C. (2020) ‘The absent presence of progressive rock’, Rock Music Studies, Vol 7, Issue 1, pp. 8-22.
Anderton, C. (2019) ‘Just for the Fun of it? Contemporary Strategies for Making, Distributing and Gifting Music.’ In I. Medic & M. Dumnic (eds.), Contemporary Popular Music Studies: Proceedings of the 19th Conference of the Association for the Study of Popular Music, pp. 269-277. Berlin: Springer.
Anderton, C. (2019) ‘Risky Business: the Volatility and Failure of Outdoor Music Festivals in the UK’, Live Music Exchange. Available [open access] at: http://livemusicexchange.org/blog/risky-business-the-volatility-and-failure-of-outdoor-music-festivals-in-the-uk-chris-anderton/
Anderton, C. (2019) 'Music Festivals in the UK'. London: Routledge.
Anderton, C. (2018) ‘Festival Spaces / Festival Places: Ephemerality, Continuity and a Sense of Place.’ Burning Man and Transformational Event Cultures symposium, University of Fribourg, Switzerland, available [open access] at: https://figshare.com/s/91346c432ef0fca737f2
Anderton, C. (2016) ‘Sonic artefacts: ‘record collecting’ in the digital age’, IASPM@Journal, vol. 6, Issue 1, pp. 85–113.
Anderton, C. (2016) ‘Fire in Harmony: the 1980s UK British progressive rock revival.’ In P. Gonin (ed.) Prog Rock in Europe. Overview of a Persistent Musical Style, pp.151-164. Dijon: Editions Universitaires de Dijon.
Anderton, C. (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.