| Global music city: knowledge and geographical proximity in London's recorded music industry A Watson Area 40 (1), 12-23, 2008 | 139 | 2008 |
| Cultural production in and beyond the recording studio A Watson Routledge, 2014 | 123 | 2014 |
| Spaces and networks of musical creativity in the city A Watson, M Hoyler, C Mager Geography Compass 3 (2), 856-878, 2009 | 110 | 2009 |
| Global media cities in transnational media networks M Hoyler, A Watson Tijdschrift voor economische en sociale geografie 104 (1), 90-108, 2013 | 98 | 2013 |
| World City Network Research at a Theoretical Impasse: On the Need to R e‐Establish Qualitative Approaches to Understanding Agency in World City Networks A Watson, JV Beaverstock Tijdschrift voor economische en sociale geografie 105 (4), 412-426, 2014 | 71 | 2014 |
| Creating the right ‘vibe’: emotional labour and musical performance in the recording studio A Watson, J Ward Environment and Planning A 45 (12), 2904-2918, 2013 | 68 | 2013 |
| The world according to iTunes: mapping urban networks of music production A Watson Global Networks 12 (4), 446-466, 2012 | 62 | 2012 |
| Music cities: Evaluating a global cultural policy concept C Ballico, A Watson Palgrave Macmillan, 2020 | 60 | 2020 |
| ‘Running a studio's a silly business’: work and employment in the contemporary recording studio sector A Watson Area 45 (3), 330-336, 2013 | 52 | 2013 |
| Sociological perspectives on the economic geography of projects: The case of Project‐Based working in the creative industries A Watson Geography Compass 6 (10), 617-631, 2012 | 40 | 2012 |
| Framing city networks through temporary projects:(Trans) national film production beyond ‘Global Hollywood’ M Hoyler, A Watson Urban Studies 56 (5), 943-959, 2019 | 35 | 2019 |
| Global city makers: Economic actors and practices in the world city network M Hoyler, C Parnreiter, A Watson Edward Elgar Publishing, 2018 | 35 | 2018 |
| Transnational freelancing: Ephemeral creative projects and mobility in the music recording industry A Watson, JV Beaverstock Environment and Planning A 48 (7), 1428-1446, 2016 | 32 | 2016 |
| Negotiating platformisation: MusicTech, intellectual property rights and third wave platform reintermediation in the music industry A Watson, A Leyshon Journal of Cultural Economy, 2022 | 28 | 2022 |
| Does social media pay for music artists? Quantitative evidence on the co-evolution of social media, streaming and live music A Watson, JB Watson, L Tompkins Journal of Cultural Economy, 2022 | 18 | 2022 |
| Not all roads lead to London: Insularity, disconnection and the challenge to ‘regional’creative industries policy A Watson Regional Studies 54 (11), 1574-1584, 2020 | 16 | 2020 |
| ‘Tuning Out'or ‘Tuning in'? Mobile Music Listening and Intensified Encounters with the City A Watson, D Drakeford‐Allen International Journal of Urban and Regional Research 40 (5), 1036-1043, 2016 | 16 | 2016 |
| Staging atmosphere: collective emotional labour on the film set A Watson, J Ward, J Fair Social & Cultural Geography 22 (1), 76-96, 2021 | 14 | 2021 |
| Digital disruption and recording studio diversification: Changing business models for the digital age A Watson Business innovation and disruption in the music industry, 95-113, 2016 | 14 | 2016 |
| Invisible agents and hidden protagonists: Rethinking creative cities policy A Watson, C Taylor European Planning Studies 22 (12), 2429-2435, 2014 | 14 | 2014 |
Michael HoylerProfessor of Human Geography, Loughborough UniversityPatvirtintas el. paštas lboro.ac.uk
