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Articles by Anna Byrne

  • Live music: Do performers owe us anything?

    Live music: Do performers owe us anything?

    by Anna Byrne, 22 August 2013

    As I boarded the 19 towards The Lexington to see David Thomas Broughton perform, I thought to myself, 'How nice to be going to a gig that I'm not reviewing'. I love writing reviews, don't get me wrong, but sometimes it's nice just to go to a live show as a relaxed person who feels free to miss bits, arrive late and get distracted. Yet I feel compelled to write down the thoughts that this gig left buzzing angrily around my mind. [read more]

  • UK festival ticket prices: Are we fools to fork out?

    UK festival ticket prices: Are we fools to fork out?

    by Anna Byrne, 25 July 2013

    Back in 2003, a ticket for Glastonbury cost £105. This year? £210. That's a 100% increase in ten years. 100%! I'm pretty sure festivals haven't got 100% more popular or 100% better. Glastonbury's not even the worst offender, either; Leeds and Reading pip it to the post by a frankly childish 50p. And younger festivals like Bestival and Latitude have shot up to £190. [read more]

  • What is the point of a 0/10 review?

    What is the point of a 0/10 review?

    by Anna Byrne, 02 July 2013

    The NME's recent review of Tom Odell's debut album Long Way Down awarded it a 0/10 along with a whole heap of scathing, confidence-destroying, gratuitously harsh comments about Odell, his music and something about musical syphilis. It's evident from Mark Beaumont's words that he loathes everything about Odell and the type of artist that he represents, but what does that score actually mean? What do we learn from a 0/10? [read more]

  • Is 2013 the year of clever PR or desperate overthinking?

    Is 2013 the year of clever PR or desperate overthinking?

    by Anna Byrne, 12 June 2013

    With the recent release of Daft Punk's palm-sweatingly anticipated new album Random Access Memories, I started to think about the correlation between hype and success. What makes a buzz, how has the internet changed how albums are introduced to the waiting world, and where is the line between clever PR and desperate overthinking? [read more]

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