ABSTRACT
This chapter examines the effects of the developments on the live music business, focusing in particular on pub rock, punk spaces and the emergence of alternative venues. It focuses on two rather different examples of do-it-yourself (DIY) music making: the early music movement, on the one hand, and black British music, on the other. The chapter shows that ‘pub rock’ does not really describe a time when pubs were particularly important for live music but rather a particular moment in the long history of pub music making. It examines the issue Walker raises: DIY activity made necessary by the deliberate exclusion of promoters and other musical entrepreneurs from existing music places and businesses. One element of 1970s DIY was musicians retrieving music making practices that had become enmeshed in corporate routine, a process that began before punk in the development of pub rock and a process that was vital for the dynamism of the rock industry.
