ABSTRACT
Arts councils, for example, now expect the musical organisations they support not just to increase their box office income but also to develop more social diversity in their customer base, whether through educational programmes or presentational devices. Rock fans, for example, are sensitive about the exclusive value of their favoured acts and quick to spot “selling out”, to accuse artists of sacrificing their distinctive sounds to the tastes of a broader audience, just as they are quick to distinguish between an act’s “real” fans and the “socialites” who are at a gig for the atmosphere or the prestige. The value of a concert as a commodity is usually taken to lie in its uniqueness. Tracy Johnston, like other promoters, suggests that her audiences value the live music experience because it is unique:Because no two concerts are ever the same.
