Dr Chris Anderton is Associate Professor in Cultural Economy, with a particular focus on the music industries, music culture and music history. His research examines a range of topics including: the live music and festivals industries, the development and representation of music genres, the management and marketing of popular music, and the intersection of fan practices and intellectual property law. He teaches on Solent’s music business courses and supervises a number of postgraduate students.
Over the past ten years he has acted as co-executive producer of Solent’s SMILEfest event, which allows our students to get involved in organising and managing industry-facing activities, guest speaker talks, live concerts, club nights, and more. In 2019 the event was a key part of the SO: Music City festival in Southampton, which saw students and staff working closely with local music industry organisations, venues and musicians. Chris also founded and manages Solent Music (solentmusic.com), which arranges music industry guest speakers, seminars and events, manages work experience opportunities, and promotes the fantastic work of students across the range of music courses at Solent. As with SMILEfest, Solent Music is a collaboration between our students and staff.
Chris completed his doctoral thesis at the University of Wales, Swansea, entitled '(Re) Constructing Festival Places', and since joining Solent University has published the books Understanding the Music Industries (Sage, 2013) and Music Festivals in the UK: Beyond the Carnivalesque (Routledge, 2019). He has presented at numerous academic conferences around the world and has published numerous book chapters and academic journal articles. He is currently working on a number of books due for publication in 2021/22, including Music Management, Marketing and PR: Creating Connections and Conversations (Sage), Media Narratives in Popular Music (Bloomsbury Academic) and Researching Live Music: Gigs, Tours, Concerts and Festivals (Routledge). He has also guest edited issues of the academic journals Rock Music Studies and Arts & the Market.
Chris' current research interests include:
Chris also created the Solent Music organisation, which exists to support student creativity and experience through promoting the work of music and music business students at the University. Music industry conferences, live events, club nights, outdoor festivals and research projects have all been managed through Solent Music for the benefit of our students, with students involved in managing the organisation and running its online social media and website (solentmusic.com).
‘From Hedonism to Domestication: Liminality, Cyclic Place and the Outdoor Music Festival’ – at the CTM Festival 2020, Berlin, January/February 2020.
‘Global Prog: Exploring the ‘progression’ of progressive rock’ – at the Rethinking Progressive Rock symposium, Griffith University, Australia, June 2019.
‘From Woodstock to the Isle of Wight: narrative influences and the countercultural carnivalesque in the mediation of music festivals on film’ – at the XX Biennial IASPM Conference, The Australian National University, Canberra, Australia, June 2019.
‘A Contextual History of British Music Festivals: the carnivalesque, moral panics and commercialisation’ – at the Carnival and Counter-Culture – trouble and fun at the music festival, Royal College of Art, 7th February 2019.
‘Festival Spaces / Festival Places: Ephemerality, Continuity and a Sense of Place’ – at the Burning Man and Transformational Event Cultures, University of Fribourg, Switzerland, November 2018.
‘The Absent Presence of “Progressive Rock”: an analysis of music magazines from the early 1970s’ – at the Third International Conference of The Progect Network for the Study of Progressive Rock, University of Lund, Sweden, May 2018.
‘Just For the Fun of it? Contemporary Strategies for Making, Distributing and Gifting Music’ – at the 19th Biennial International Association for the Study of Popular Music conference, University of Kassel, Germany, June 2017.
‘The Great British Music Festival: Exploring the Rural Idyll of Outdoor Music Festivals in the UK’ – at the Music, Festivals, Heritage conference, Siena Jazz Archive, Italy, May 2017.
‘Branded environments: Music Festivals, Creativity and Experiential Marketing’ – at the International Association for the Study of Popular Music UK & Ireland conference, University of Sussex and the British and Irish Modern Music Institute (Brighton), September 2016.
‘Final Thoughts’ – at the Second International Conference of The Progect Network for the Study of Progressive Rock, University of Edinburgh, May 2016.
‘Progressive Rock Fandom: Creating, Curating and Archiving through Blogs and Bootlegs’ – at the Second International Conference of The Progect Network for the Study of Progressive Rock, University of Edinburgh, May 2016.
‘Sonic archaeology: curation, cultural memory, and fan labour’ – at the Fringes, Outsides and Undergrounds: The Aesthetics and Politics of Unpopular Music conference, Goldsmiths College, May 2016.
‘Festivals Research’- at the Impact of Festivals launch event, Cheltenham Jazz Festival, April 2016
‘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.
He has presented his research at numerous national and international academic conferences and has published many book chapters, journal articles and books. His books include Understanding the Music Industries (2013), Music Festivals in the UK. Beyond the Carnivalesque (2019), Music Management, Marketing and PR: Creating Connections and Conversations (forthcoming), Media Narratives in Popular Music (forthcoming) and Researching Live Music: Gigs, Tours, Concerts and Festivals (forthcoming).
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.
These include a book proposal related to music industry research (with Martin James), a proposal for a new academic journal, a proposal for a new collection on music history, and work related to the activities of Solent Music, SMILEfest and others in Southampton, with a particular focus on mapping and building the local music economy, studying local music heritage, and responding to the Covid-19 crisis that has affected live music venues and their associated workers.