The British Pop Music Festival Phenomenon

Stone, Chris

doi:10.1016/b978-0-08-045100-8.00014-4

Cited by 28 publications

(27 citation statements)

References 15 publications

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“…Music events have four distinct features: (1) they have a dominant theme (the performance of music), which varies or is limited to a specific genre such as rock, country, pop and classical; (2) they are arranged during a specific time period or date once a year; (3) they take place within a specific or limited region and (4) they are open to the public (Aldskogius, 1993, p. 56;Stone, 2009). Live music performances, such as the Roxette concerts, differ from music and art festivals.…”

Section: Introductionmentioning

confidence: 99%

Listen to Your Heart: Motives for Attending Roxette Live

Kruger

Saayman

2012

Journal of Convention & Event Tourism

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The purpose of this research was to identify motives of people attending concerts during the Roxette tour to South Africa and, based on these motives, to identify and profile different market segments. A destination-based survey was undertaken, and questionnaires were distributed at four of the seven Roxette concerts held at the Grand West Casino in Cape Town (May 10 and 11, 2011) and at the Sun City Super Bowl in Sun City (May 13 and 14, 2011). A total of 960 questionnaires were administered at events in Cape Town and Sun City (436 and 524, respectively). The factor analysis identified five motives: Artist affiliation and unique experience, Socialisation and event novelty, Fun and group affiliation, Enjoyment and entertainment, and Nostalgia. Based on these motives, two distinct clusters of attendees were identified: Avid fans and Recreational attendees. Although these fans have different travel motives and behavioural variables, their socio-demographic characteristics are homogenous. Marketing campaigns should focus on attracting and retaining Avid Fans as they were found to be the most lucrative target market. This was only the second time that the attendees at a live music performance in South Africa were analysed, and the first time that they were clustered based on their travel motives. The research provides valuable insights into the behaviour of people attending musical events and also highlights the complexity of their motives.

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Section: Introductionmentioning

confidence: 99%

Listen to Your Heart: Motives for Attending Roxette Live

Kruger

Saayman

2012

Journal of Convention & Event Tourism

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“…Festivals constitute a significant part of the UK leisure economy, and are seen as an important part of the creative sector (British Arts Festivals Association 2008). The increased number of specialist festivals advertised on UK listings sites (Stone 2009) and in the media has amplified the marketability of such events. However, due to its saturation, the UK festival market is also characterized by increasing competition (Jenner, Barr and Eyre 2013).…”

Section: The Emergence Of the Boutique Festival In The Uk Festival Fieldmentioning

confidence: 99%

“…Clarke's (1982: 1) count of 'at least 24 festivals' being held in the UK in 1979 now seems very modest compared to 981 listed on a major festival hub website, eFestivals, for 2014. The varied offering of the contemporary festival field is usually classified according to factors such as size, timescale, geographical scope, genre, degree of professionalism and commercialism (profit or nonprofit, sponsorship), degree of establishment in the field (history and breadth of stakeholder relations), and innovativeness (see Bowdin et al 2001;Paleo and Wijnberg 2006;Stone 2009;Rüling and Strandgaard Pedersen 2010). Most festivals are no longer emblematic of a radical counterculture, but have become a major cultural fixture with a 7 mainstream appeal.…”

Section: The Emergence Of the Boutique Festival In The Uk Festival Fieldmentioning

confidence: 99%

‘From mosh pit to posh pit’: Festival imagery in the context of the boutique festival

Johansson

Toraldo

2015

Culture and Organization

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Johansson, M. and Toraldo, M. L. (2017) 'From mosh pit to posh pit': Festival imagery in the context of the boutique festival. Culture and Organization, 23(3), pp. 220-237. (doi:10.1080/14759551.2015.1032287) This is the author's final accepted version.There may be differences between this version and the published version. This paper addresses market-based cultural production in the context of the UK festival field, with a focus on the framing of the festival experience through anticipation. In particular, boutique festivals are discussed as examples of a contemporary cultural 'product category' which has emerged and proliferated in the last decade. Through discourse analysis of media representations of boutique festivals we situate the boutique festival in a broader sociocultural discourse of agency and choice, which makes it meaningful and desirable, and outline the type of consumer it is meant to attract. For the contemporary consumer the boutique festival is presented as an anticipated experience based on countercultural festival imagery, whilst simultaneously framing cultural participation through consumption. The paper contributes to a wider debate on the construction of the consumer in the cultural economy.

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“…Any drop in festival attendance from the international tourists cannot be absorbed by the constrained demand of the local market. This is a potential threat for organizers as their main source of revenue is dependent upon ticket sales (Felsenstein & Fleischer, 2003;Getz, Andersson, & Larson, 2006;Leenders, van Telgen, Gemser, & Van der Wurff, 2005;Sharpe, 2008;Stone, 2008;Tohmo, 2005). Therefore, organizers must be astutely aware of promotional methods, such as eWOM, that are cost effective, extend market reach, and acquire international tourists as attendees.…”

Section: Promoting a Music Festival In A Sidmentioning

confidence: 97%