Where are you based out of and where do you see shows in relation?
When did you start going to shows and when did you get more involved in the scene?
Talk a bit about your disability and how it affects your experience going to shows.
What have your experiences been like with inquiring about lighting accommodations? What does that process typically look like?
What have your experiences been like with having an invisible disability in relation to getting accommodations?
Have your experiences with accommodations at venues improved over time as social awareness has grown in general, or are things remaining the same?
What’s been your best experience with accessibility?
What’s been your worst experience with accessibility?
Tell everyone about what you’re working on through LEAD DIY.
Was there a particular moment that made you want to work to change things surrounding lighting at gigs?
How can people best be an ally to everyone with light sensitivities?
Most listened to album of this year so far?
Though you may connect Half Access to Luciano Ferrara & The Ensuing Disaster through the interview we did with them or through their participation in Access Live, today we’re excited to be premiering “Lavender & Honey,” the second single from their new EP. Accompanying the new song is a music video by Timeline Visuals. Their new EP, The Hidebehind, is out next Friday, November 15, was produced by A Will Away/Steadfast Studios.
The Half Access mission is to make live music more accessible, and in most of our recent work we’ve focused on the experience of disabled fans attending shows. There’s another huge part of venue accessibility, which is making sure that disabled musicians can access venues. But, before playing shows comes learning an instrument, which can often look different for disabled musicians. I got the chance to interview a few disabled musicians to share their experiences with adapting how they learn and play their instruments in a way that works with their disabilities.
Josh Rosenberg, 24, graduated from UMass Lowell in spring 2017 with a bachelor’s of music in music business. This year marks the first year he has been able to work only in the festival and live music industry, specializing in accessibility, without any side jobs. He’s worked at about 20 different festivals, some just once and some each year over the past four years.