The critical music fan: the role of criticality in collective constructions of brand loyalty

Obiegbu, Chinedu James; Larsen, Gretchen; Ellis, Nick C.

doi:10.1108/aam-01-2019-0006

Cited by 6 publications

(5 citation statements)

References 35 publications

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“…Specifically, services have fewer cues for consumers to evaluate which therefore increases purchasing risks (Chen et al., 2020; Murray & Schlacter, 1990; Zeithaml, 1988). The impact of opera service branding has been found to include attendance (Katz et al., 2018; Trinh & Lam, 2016), satisfaction (Baumgarth & O’Reilly, 2014; Siu et al., 2016) and retention (Obiegbu et al., 2019; White et al., 2020). Polegato and Bjerke (2019, p. 148) assert “arts managers need to have a deep understanding of what engages audiences and how that engagement leads to satisfaction and repeat attendance”.…”

Section: Literature Reviewmentioning

confidence: 99%

Opera participants’ perceptions of brand resonance

Hall

Menzies

Zutshi

et al. 2021

Int J Consumer Studies

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The Australian performing arts industry, in the decade prior to COVID-19, was operating on a knife's edge with dwindling attendance and reductions in revenue (Fanelli et al., 2019). Reverberations from the pandemic created a crucial tipping point for the ongoing viability of performing arts organizations, including the subject company, Big Opera (Westwood, 2020). Adding to the traditional challenges of appealing to generationally shifting audiences, COVID-19, with its aerosol infectivity, required vocal arts organizations to rethink their production methods and venues as a matter of business survival (Terracini, 2020). This study postulates that organizations such as Big Opera, while aiming to operationally reconfigure after the pandemic, also need marketing innovations to restore and enhance their brand relationships with customers to improve patronage. As such, the objective of this study is to examine traditionally successful brand resonance concepts of loyalty, attachment, community and engagement (Keller, 2001(Keller, , 2020 specifically for rebuilding and sustaining attendance at the opera in the post-crisis period. The paper responds to the calls by Kemp (2015, p. 186) to undertake research to, "examine arts engagement from a … situational perspective".Operatic events are the pinnacle of the performing arts industry, both artistically and financially. Fanelli et al. (2019, p. 78) stated that, "opera is one of the most fascinating forms of performing arts which gives expression to human passions and emotions at the crossroads between music and theatre". Further extending these sentiments, Edelman et al. (2016, p. 25) mentioned that "opera is one of the most aesthetically complex of art forms, often portrayed in the popular media as cultivating an "élite" audience with high cultural capital and

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Section: Literature Reviewmentioning

confidence: 99%

Opera participants’ perceptions of brand resonance

Hall

Menzies

Zutshi

et al. 2021

Int J Consumer Studies

View full text Add to dashboard Cite

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“…Souza-Leão and Costa (2018) tionships (i.e., accusing individuals of being posers). According to Obiegbu, Larsen, and Ellis (2019), this practice is even more significant among music consumers: it is used to show who is really loyal to the artists and not only got to know the songs through media and marketing actions.…”

Section: Resultsmentioning

confidence: 99%

Hipsters Versus Posers: Fannish Split in the Indie Music World

Cavalcanti

Leão

Moura³

2021

RAM, Rev. Adm. Mackenzie

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Purpose: Web 2.0 technologies have enhanced relational dynamics in fan communities. Indie music fans significantly identify themselves with the genre and participate in these communities within a music industry reinvention scenario. Based on the Foucauldian perspective, by sharing knowledge about media products, fans manifest truths capable of expressing subjectivities - parrhesia, a way of mutually affecting different truths. Thus, the aim of the present study is to analyze how parrhesia is operated in interactions among indie music fans. Originality/value: The present research expands an important theoretical-investigative path in the consumer culture theory (CCT) field by adopting Michel Foucault’s later theoretical cycle, which addresses the construction of subjectivities. Design/methodology/approach: Netnography of interactions among indie music fans was carried out in one of the largest online discussion forums on the topic. Findings: Heated discussions observed in the investigated community often create a split that shows a dispute focused on defining what being an indie music fan means. Based on disruptive parrhesia anchored in moral backgrounds associated with erudition and collectivism versus hedonism and individuality, self-declared true fans and those who seek fun establish alter-subjectivities as hipsters and posers.

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“…Since the growth of social media in the early 2000s, online fandoms-whether TV, music or sport-have become a major focus of cross-disciplinary research within the fields of sociology, media and communication studies, cultural studies and gender studies. Popular topics have included cult TV programmes and films like Buffy the Vampire Slayer (Kirby Diaz 2009), Harry Potter (Tosenberger 2008), Doctor Who (Booth and Kelly 2013), Star Wars (Proctor 2013) and Lord of the Rings (Pullen 2006), as well as music stars like REM (Bennett 2011), U2 (Obiegbu et al 2019), Autechre (Brett 2014), Robyn (Edlom and Karlsson 2021), Jimmy Buffett (MacDonald Weeks 2012) and BTS (Ringland and Wolf 2021). Most of these studies have focused on the ways in which online fandoms foster collective identities and feelings of loyalty, as well as how hierarchies are formed and knowledge is transmitted amongst community members.…”

Section: Music Mental Health and Online Fandomsmentioning

confidence: 99%

Music for Mental Health: An Autoethnography of the Rory Gallagher Instagram Fan Community

O’Hagan

2023

Journal of Contemporary Ethnography

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Since the outbreak of COVID-19, there has been a major increase in anxiety and depression. For many, online music fandoms have offered an important platform to combat loneliness and aid well-being. In this study, I use autoethnography, supported by psychosocial theory on recovery and sociological theory on music fandoms, to track my personal journey of recovery (2020–2022) from a mental health crisis through the support of the Rory Gallagher Instagram fan community. Specifically, I investigate how the community acts as a positive support mechanism for well-being, how my relationship with Rory and his music has changed since joining the community, and how knowledge of Rory’s own personal struggles, coupled with my own experiences, have empowered me to become a mental health advocate. Overall, the study brings attention to the importance of online music communities as informal, holistic regulating agents for mental health conditions and offers alternative ways for health services to approach mental health care.

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The critical music fan: the role of criticality in collective constructions of brand loyalty

Cited by 6 publications

References 35 publications

Opera participants’ perceptions of brand resonance

Opera participants’ perceptions of brand resonance

Hipsters Versus Posers: Fannish Split in the Indie Music World

Music for Mental Health: An Autoethnography of the Rory Gallagher Instagram Fan Community

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