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In jam festival music scenes, participants build elaborate networks that connect members formally and informally between music events. Largely regional in scope, participants form these networks to develop and perform scene identities and cultivate intimate social relationships. Emerging through cultivated “crews” and “camps,” members build hubs of interaction that sustain and persist well beyond the festival event to create a vital sense of belonging and place. While the affective relationships formed at music festival events tend to be temporary, diffuse, and episodic, scene networks provide a “portable” interactional infrastructure that promotes relational continuity and persistence. These networks also provide more pragmatic benefits to networked members in the form of social and subcultural capital exchanged for symbolic and material rewards within the scene. Drawing from nearly 20 years of formal and informal participant observation in festival scenes, I provide an analysis of these networks and articulate common practices that drive their formation and continuation.

By applying Erving Goffman’s concept of role embracement (1961), I analyze the role of a hardcore music fan, online and offline. I collected ethnographic data from discussion boards, an online questionnaire, interviews, emails, private messaging, and field observation to provide support for the usefulness of Goffman’s concept to illuminate aspects of online and offline role performances. “Attachment,” “demonstration,” and “engagement” are the three elements of role embracement that illustrate aspects of the hardcore fan’s passion for the Rolling Stones, expressed both on the Internet and in everyday face-to-face situations. The study shows that Goffman’s ideas about a person’s commitment to a role and the handling of potential stigma (1963) in relation to it can help researchers understand how fans or those belonging to a special interest community enact their roles in the ever-growing seamlessness of the offline/online spheres.

The deadhead subculture – centered around the band Grateful Dead – has been active for 50+ years. Despite its longevity, academic work is sparse compared to other music subcultures. Given its durability and resilience, this subculture offers an opportunity to explore subcultural development and maintenance. I employ a contemporary, symbolic interactionist approach to trace the development of deadhead subculture and subcultural identity. Although identity is a basic concept in subculture research, it is not well defined: I suggest that the co-creation and maintenance of subcultural identity can be seen as a dialectic between collective identity and symbolic interactionist conceptions of individual role-identity.

This chapter explores the theoretical foundations of Hazeen, a Muslim blackened death metal band formed in 2015 by the authors - Safdar Ahmed on guitar and vocals, and Can Yalcinkaya on the drums and darbuka. It provides insights into the musical and performative practices of our band that are informed by traditions of black and death metal, but which also re-interpret them through an engagement with anti-fascist, anti-Islamophobic politics as well as Sufi/batini elements. Hazeen responds to a rising tide of Islamophobia in Australia, using our lyrics and performances to attack racist stereotyping and the dehumanisation of Muslims. In our performances, we dress in black, Islamic attire and apply ‘corpse paint’ to become the much feared ‘other’ of the post-9/11 world - the monstrous, rabid, zombie-like Muslim that has haunted the right wing/conservative imagination in the West. Our lyrics address such issues as the inhumane treatment of refugees and asylum seekers in Australia, halal food conspiracies, orientalism and the so-called ‘clash of civilisations’. This chapter presents a critical exegesis of Hazeen’s output in the form of live gigs, art performances and studio recordings. It seeks to identify Hazeen’s place within the broader Australian metal scene, posing questions of authenticity and how metal enables us to question hegemonic notions of identity. Hazeen’s use of art spaces as venues of performance and involvement in the indie/zine community highlights an unconventional position within the local metal scene.