The Studio at Webster Hall is an intimate 300 to 400, scalable capacity performance room in the downstairs of this NYC Landmark venue, featuring a state-of-the-art recording studio. The Studio features an L’Acoustics sound system, stage lighting that will rival any large room in New York and the ability to record digital multi-track sound from the Grand Ballroom as well as The Studio stages.
As a visitor to The Studio you will have access to all four levels of Webster Hall on Thursday through Saturday nights at no additional cost. Resident DJs, late night comedy, weekly dance parties, record release shows and special unannounced acts are just a glimpse of what you will find at The Studio.
The Studio carries on the legacy of the 1950s and 60s when Webster Hall was the live recording home of RCA Records, where legends such as Elvis Presley, Sam Cooke, Ray Charles and Bob Dylan made history and invented rock and roll.
The Studio continues Webster Hall’s long standing legacy of providing live entertainment and unique recorded content to the people of New York City and citizens of the World.
The Studio is open 7 nights a week from 8:00 pm – 4 am.
Contact us at heath@websterhall.com or alex@websterhall.com
Photos by Randee St Nicholas and Helen Pearson
The Studio at Webster Hall has presented the following artists:
| Against Me! Alcest Anamanguchi Asteroids Galaxy Tour Atlas Genius Band of Skulls Bear Hands Big Boi The Black Lips The Bravery Broken Bells Clipse Cloud Nothings C.J. Ramone Conor Maynard The Dangerous Summer Danko Jones Das Racist David Nail Dead Sara Dia Frampton The Dillinger Escape Plan The Dirty Pearls Dropkick Murphys The Drums Edward Sharpe & The Magnetic Zeros Fall Out Boy Fishbone Fitz & The Tantrums Florence and the Machine Foster The People Foxy Shazam Francis & The Lights Free Energy Fun. Gang Gang Dance Gojira Ghost Girl In A Coma Glasvegas Gogol Bordello Grace Potter & The Nocturnals The Gracious Few Green Day Grouplove Halestorm The Hives Hockey Hoodie Allen The Horrors Hurt Imagine Dragons Immolation Ian McCulloch (Echo & the Bunnymen) Imogen Heap Innerpartysystem Jedi Mind Tricks Julia Nunes Karen Elson Keane The Knux |
Lloyd Banks Maps And Atlases Max Schneider Mobb Deep Mona Mr. Lif Mumford and Sons The Naked And Famous The National Neon Indian Never Shout Never Odd Future Patrick Stump Peter Bjorn and John Portugal, The Man Questlove Radical Something Recover Revocation Rocco DeLuca Say Anything Shwayze Semi Precious Weapons Silverstein Sleigh Bells Spacehog Spoon Stars Surfer Blood Telepathe Terry Reid Theophilus London Timeflies Two Door Cinema Club Vampire Weekend Van Hunt Voxhaul Broadcast Walter Schreifels Warpaint Weedeater William Beckett Wiz Khalifa Ximena Sarinana You Me At Six Young Love Young The GiantComedians: Will Forte Gilbert Godfrey Janeane Garofalo Seth Herzog John Oliver Kristen Schaal Michael Showalter Sarah Silverman Jason Sudeikis Reggie Watts |
The New Music Seminar Dedux: Can it Pull Ahead From the Growing Heard?
=============================================================
Is the resurrection of a classic music conference really the new B2B or more of the same old Wannabe?
Moses Avalon
We know it’s not “new,” and we know it’s not really a “seminar,” but is it still “music?”
About 30 years ago when Tom Silverman started New Music Seminar there were maybe five conferences worth attending. Since that time over 50 have sprung up in United States alone. (A list of my top 19 can be seen here.) Silverman is a music industry veteran and famous for founding Tommy Boy Records, with its string of urban hits. So why resurrect an old idea in a time when the competition for music business happenings has never been greater?
Keep reading below in text only or visit the new Moses Avalon information center and read it with pictures links and your comments here.
After being both the speaker and an attendee at the event’s third year since resurrection I’m convinced it’s because Silverman has an instinct that something different is needed in the landscape. I attend many conferences and frankly, after a while (and certainly recently) many blend together with more blither-blather about data points than they do about music itself. And NMS certainly had its share of that. But…
Usually, you’ve got NARM on one hand, which is very B2B and somewhat exclusionary or NAMM on the other, which, with its 90,000 plus attendees, can’t help but lean towards the not-so-exclusionary. Both have their place and their purpose in our community, but NMS seems to find a balance I believe other conferences have not achieved.
Part of its secret is that it’s all under one roof (Webster Hall on Greenwich Village, which I haven’t been to since college). With only three rooms to navigate the show was more ergonomic as opposed to NAMM with its 100,000 square feet. Quality of speakers was excellent and quality of the networking was class A. High-level music executives from performing rights societies and labels easily mixed with people who are still emerging. It was not uncommon to see “Players” schmoozing with those they tend to avoid at these events– artists.
“Players” are what Silverman insists NMS participants are called. Not attendees or panelists. And panels themselves are called, “Intensives” or “Movements.” This is all part of Silverman’s way of keeping it fresh. Does it pay off?
It would be easy to be critical of this choice or that agenda or that rant, though I think doing so would miss the overall point. While metrics and data were certainly obsessed over on a Movement or two, enough equal time was given to what all of these numbers are supposed to be about – music.
Long after the last panel ended at 5PM Tuesday, Players still lingered outside, filling the street until police had to politely assist in restoring order. So, clearly there is room in the landscape for one more thing to go to and NMS will be added to my ranking of 19 music business conferences, now officially, my top 20.
Mo out
.jpg)
