ABSTRACT
This chapter explores the aftermath of the concert. The resulting variety of artefactual forms includes film, TV and radio programmes as well as those things habitually referred to as the Record: vinyl, tape, CD and digital compression files such as the MP3. The relationship of these recording practices is most immediately evident in the nature of live texting and tweeting among fans that suggests that a record of memorialization and its circulation begins during the concert itself. The live concert then is a specific temporal and spatial event in which, as Philip Auslander notes, the music produced is an intangible cultural expression. In a discussion of the ephemerality of visual media, Amelie Hastie suggests that attention to its attendant detritus might 'maintain or restore a sense of materiality in relation to it. Louis Armstrong recorded West End Blues with his Hot Five in 1928. The performance has no bass instruments at all the piano has to provide the rhythm.
