Celebrating 30 years louder than hell: exploring commercial and social ‘Host Event Zone’ developments of the heavy metal festival Wacken Open Air

Abstract

Although respective research has proliferated, little attention has been given to the processual nature of festivals. By drawing upon the concept of host event zones, we examine how different spectators perceive the development of the heavy metal festival Wacken Open Air (WOA) with respect to the dynamics between the festival as a temporary place in which visitors enjoy spectacle and ritual, a commercial site and the everyday living space of local inhabitants. WOA has grown in 30 years from an initiative by a few friends for devoted metal fans into an internationally renowned music mega-event. WOA represents a consumption mediated 'peaceful utopia' where festivalgoers find social meaningfulness in neo-tribes. However, the accelerating mainstream appeal of Wacken Open Air for a non-metal fan audience, which significantly spurt by the media, challenges both regular attendees' experience of this idealized space and the relationship between the host community and the festival.

Topic modelling of festival-visitors' opinions: A case study of Sziget Festival

“…There are different points of view on what this includes. The literature defines the environment such as food and drinks, staff professionalism, cleanliness, restroom, information, parking, accessibility, and other amenities and facilities (Alvarado, 2022;Bohn D., de Bernardi C. 2022;Tanford & Jung, 2017;Tan et al, 2020;Özdemir & Çulha, 2009Özdemir & Çulha, : Lee et al, 2008Tan et al, 2020;Welthagen & Lötter, 2020;Yoon et al, 2010). These can be classified as Herzberg's hygiene factors that are necessary to be met to avoid dissatisfaction, but on their own, they are not sufficient to cause satisfaction.…”

“…Finally, the festival environment allows for a more intimate, more self-centred experience as well. The limited space and time of a festival enable festival-goers to escape their everyday lives and thus interact more openly and positively, and enable self-expression of identity that may not be possible outside (Bohn & de Bernardi, 2022;Kinnunen et al, 2020;Szmigin et al, 2017). This opportunity and acceptance of self-expression are one of the key motivators for festival attendance as it gives a sense of safety and inclusion to participants.…”

“…The primary part of the program is the musical line-up and the headliners. However, there is a trend of diversification recently as other entertainment is becoming more widespread and diverse (see Bohn & de Bernardi, 2022;Brown & Sharpley, 2019;Szabó, 2015). Cole and Chancellor (2009) argued that a downtown festival's quality of live entertainment and live bands is more important than other programs (for example, various booths and exhibits) and amenities (for example, accessibility, restrooms, food and beverage, hygiene).…”