Between about 1580 and 1690, early modern England experienced three interrelated developments: first, the growth of a successful commercial popular music industry, centred on London, which served a socially broad national market; secondly, the development of political parties, emerging from the political and religious turmoil of the period, which impinged significantly upon the newly burgeoning popular music industry and its markets; thirdly, a substantial increase in the per capita consumption of alcoholic drinks across all social classes, for reasons of sociability rather than health or nutrition. This article explores the unexpected effects of these changes on cultures of politics, drink and song across the whole period. In particular, it explores the way in which the Cavaliers of the 1650s and the new ‘Tory’ party of the 1680s used the medium of song to encourage excessive drinking and the political and social denigration of sobriety in order to promote loyal obedience.

In common with similar popular pressure groups, the temperance movement needed to inspire, to inform and to integrate its members, and music was a vital tool to fulfil these functions. This article explores temperance music, particularly songs, performed in a range of contexts from concerts of 15,000 voices to the individual use of material produced in songbooks and periodicals. The tonic sol-fa movement grew symbiotically with the drive for temperance and, with developments in printing and distribution, this musical technology enabled the effective spreading of the temperance message through activity and entertainment. A case study of songs for children reveals that, predictably, songs were informed by religion to some extent and acted as vehicles for propaganda, instilling principles and offering guidance. However, many were more martial and encouraged children to act as agents. Temperance songs were not merely instructive; many were designed to rouse the singer – and hearer – into action.

Robert Wyatt's relationship with alcohol is multifaceted. He acknowledges its deleterious effect on aspects of his personal life, most notably on his relationship with wife and creative partner Alfreda Benge, and he has been teetotal since attending Alcoholics Anonymous in 2007–8. In professional terms, however, Wyatt continues to view alcohol positively: as a means to overcome anxiety as a performer and recording artist and as an aid to writing. From this perspective, the fact that Wyatt has not released a solo album since sobering up may be more than mere coincidence. This paper aims to answer two questions. First, what is the evidence that alcohol can reduce anxiety for a performer and recording artist, and increase creativity for a songwriter? Secondly, what is the evidence that this is so in Wyatt's specific case? In answering these questions, the author will draw on secondary research, as well as interviews conducted with Wyatt and various associated musicians and family members between 2008 and 2013.

This article examines some of the ways in which Australia's First Peoples have responded to serious community health concerns about alcohol through the medium of popular music. The writing, performing and recording of popular songs about alcohol provide an important example of community-led responses to health issues, and the effectiveness of music in communicating stories and messages about alcohol has been recognised through various government-funded recording projects. This article describes some of these issues in remote Australian Aboriginal communities, exploring a number of complexities that arise through arts-based ‘instrumentalist’ approaches to social and health issues. It draws on the author's own experience and collaborative work with Aboriginal musicians in Tennant Creek, a remote town in Australia's Northern Territory.

This article examines the relationship between music and sponsorship by drinks companies. Glasgow Jazz Festival has taken place annually since 1987 and is the city's longest running music festival. In its early years, the Festival enjoyed both cash and in-kind sponsorship from a wide range of organisations, including breweries and distilleries along with companies specialising in non-alcoholic drinks. In 2015 sponsorship was more difficult to secure, with cash sponsorship proving to be particularly elusive. The article focuses on cash sponsorship from drinks companies from 1987 to 2001, arguing that the decline in this form of sponsorship is a result of a shifting commercial and cultural landscape. Changes in Glasgow's festival calendar have resulted in a crowded marketplace which not only makes it harder for arts organisations to secure funds, but also makes relationships with sponsors more challenging to manage. Meanwhile, legislative and social changes have meant that the role of alcohol in the city's cultural life has been subject to adjustment throughout the Festival's history.

Despite the fact that drinking and music often share a space, the relationship between alcohol-related misbehaviour and live music has received little academic attention. Music has been demonstrated to influence drinking behaviour and entertainers have been observed influencing (‘soft-policing’) drunken misbehaviour by audiences. However, to date research has not given voice to those providing this musical entertainment. Are they aware of the effects they have on audiences' drinking behaviour and does this impact on performances? Our qualitative research fills this lacuna by drawing on the experiences of gigging entertainers to explore how they deal with intoxicated audiences. Interviews conducted as part of this research highlighted a lack of preparation on the part of performers for dealing with disorderly crowds and/or the unwanted attentions of drunken individuals; they usually have to learn appropriate responses ‘on the job’. Success as a gigging entertainer was felt to be only partly founded upon artistic merit, with an ability to engage the (often inebriated) public being equally important. Although none had received formal training in alcohol issues as musicians, some utilised people skills (e.g. conflict resolution techniques) acquired via other employment. The authors ask if there is a place for training in alcohol-related issues to be offered by or integrated into music curriculums.