This article aims to explore an under-researched area of the entanglements between festivals and individual/collective identities by focusing on the material culture of festival fandoms. We start by conceptualizing festival fandoms as communities of people who attend the same festival or a similar festival type on a repeated basis. Our research focuses on how these recurrent festival attendees materially express their belonging to such communities, and how they claim being a fan as part of their identity. The core of the article starts with three conceptual sections. There, we discuss the existing literature in different related areas of research, which we link together utilizing Bourdieu’s forms of capital. First, we look through the theoretical lens of social capital at how various types of festivals foster identity communities and contribute to their visibility. Second, we explore the function of festival merchandising from the perspective of both event managers and festival attendees within economic capital frameworks. And third, we explain that fans use derived products to mark their status and belonging to a community of taste as related to cultural capital conceptualizations. The following sections of the article are based on auto-ethnographic approaches. Through reminiscence and in-depth interviews with each other, we recount personal narratives of reflective practice and situate our lived experiences within the aforementioned conceptual contexts. As a conclusion, we state that investigating the material cultures of festival fandoms has the potential to contribute to future evolutions of event management.

PurposeLive music events have recently become more and more aware of the necessity to fight against gendered violence. In the meantime, research on gendered violence at live music events is also gaining a growing interest. Ladyfests and other punk-inspired queer and feminist do-it-yourself music festivals have often been presented as “safe spaces”, including in academic research. Yet, the exact goals and modalities of enactment of such safe spaces have mostly been overlooked. In this article, the author proposes to bridge this gap.Design/methodology/approachIn this article, the author relies on two sources of information: the first one is documentary and the second is ethnographical. The author first considers the festivals archives (flyers, presentation texts, programs booklets, websites and so one) to analyze the identities and goals of the festivals (“who were are” and “what we aim to do”). Crossing these sources of information with ethnographical fieldwork in 10 Ladyfests that happened in France and Germany between 2017 and 2019, the author observed the measures taken to reach such goals (“how we do it”).FindingsThe author begins with detailing the functions of safer spaces policies and shows that the festivals position themselves as transformative forces toward a safer nightlife. Then, the author introduces the means established by the festivals to enact their safer space policies. The author specifically underpins the crucial role of developing bystander intervention as well as self-managed security teams. Finally, the author sheds light on the limits of the safer spaces policies and posits that creating a safer environment demands a constant hard work to keep patriarchal structures away.Originality/valueVery few research studies have focused on live music, gendered violence and safe spaces. With this article, the author aims to contribute to the growing interest that these topics have gained in the last few years, by looking at an innovative feminist live music scene.

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