By Shane Homan
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I have already noted how part of the appeal of the tribute band phenomenon relates to its feeding the audience’s desire to experience again the spectacle of their favourite artists in a live setting and, in some cases, to have particular unfulfilled dreams regarding these artists brought to life. I have also noted how a major part of the tribute band’s success rests on the willingness of the audience to go along with the ‘trick of illusion’ that the tribute band performs. At the same time, however, tribute bands bring their own particular performative conventions to the live concert experience as a means of drawing the audience into the event, which I will now consider.
Fans of these groups engaged in an almost ritualistic form of fanship which involved 22 INDUSTRIES AND AUDIENCES the ‘correct’ displays of musical appreciation and a knowledge about the musical backgrounds and technical abilities of the musicians involved. However, as Frith and Horne (1987) observe, while progressive rock groups were highly revered by their fans, at the same time they were subject to exactly the same processes of commercialization as those regarded as being at the bottom of the artistic ladder.
One need only think of how, during the 1970s, ‘serious’ music fans held progressive rock groups, such as Genesis, Yes and Emerson Lake and Palmer in high esteem because of their technical ability and virtuosity, while rejecting top-20 orientated pop groups such as the Bay City Rollers, for their allegedly unashamed commercialism. Progressive rock groups commanded their own particular kind of aura. Fans of these groups engaged in an almost ritualistic form of fanship which involved 22 INDUSTRIES AND AUDIENCES the ‘correct’ displays of musical appreciation and a knowledge about the musical backgrounds and technical abilities of the musicians involved.