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The purpose of this paper is to demonstrate how people making music represent their production activities using images of consumption.

Supporting evidence is based on in-depth interviews with musicians and support personnel. The data are structured through a thematic analysis.

The paper argues that consumption serves as a discursive resource that allows cultural producers to make sense of production activities which do not conform to an image of production as an alienated form of labour.

Relating the analysis to the ongoing attempts to conceptualise cultural producers through the concept of prosumption, the paper concludes that there are limits to cultural producers’ abilities to represent their production activities as production rather than a structural change in social or economic organisation, as suggested by some consumer researchers.

The aim of this paper is to explore how spatial taste formation and the interrelationships between place and taste can inform the development of contemporary place marketing and/or place management strategies.

The paper draws on previous research conducted within the context of live music consumption and, in particular, within live musical spaces such as festivals and concert halls.

This paper illustrates how spatial taste formation can inform the development of topographies of taste which focus on the creation of field-specific experiences. It also offers insights for understanding the phenomenological uniqueness of various places and the role of place users and other stakeholders in the creation of place marketing and branding value.

The paper elaborates upon the potential usefulness of spatial taste formation for place management and marketing research practice and draws out implications for future research. It advances a holistic and phenomenological understanding of place which illustrates how users’ perceptions of place are shaped by their experiences in various places and by the interplay of these experiences with their individual tastes and vice versa.

The consumption of music performed in different languages represents a significant aspect of the contemporary cultural experience. This phenomenon questions how different languages mediate music consumption in specific national contexts. In this paper, the authors investigate the case of live music consumption in France.

The authors surveyed 428 persons who saw 159 artists either performing in French or in English in 46 locations around Paris, France. The authors tested the effect of the language of the concert on three dimensions of music consumption: singing in unison, appraisal of the lyrics and dancing.

Multilevel analysis revealed that English was positively associated with dancing, whereas French was positively associated with the appraisal of the lyrics. The authors found no evidence that the language of the concert was associated with differences in singing in unison.

Results are discussed with respect to language diversity in the context of globalised popular music consumption.

Although music has been indicated by nightclubs and pubs' patrons as the most important service offering, the service marketing literature provides very little guidance on how artists could increase their audience satisfaction with an experiential product such as live music. This paper aims to give a wider understanding of jazz musicians' experience of their role in the creation of live performance.

A total of 12 biographical interviews with 16 professional jazz musicians were completed.

The respondents identified audience, agents and venue owners as important elements of their product; however, they were inclined to see their live performance rather as an experience created by the product itself.

As the quality of relationship between musicians and wider business is in need of significant improvement, this paper identified potential sources of misunderstanding in a saturated and highly competitive marketplace. Practical implications include the need for venue managers to consider the consequences of poor relations with artists, as a bad practice in that area may negatively affect their ability to sustain their customer base. With the improvements in communication and more understanding for employee's feelings, one might create better working conditions, improve work satisfaction and commitment.

There are few studies that address the relations between musicians and venue owners, and “since the music is realized in a social and professional context, practitioners may operate different constructions of what is involved from those of observers”. Therefore this paper offers insights into the experience of live music from musicians' point‐of‐view.

This paper aims to address the emerging post-millennium trends in co-creational marketing, in the context of how these trends apply to the recorded and live sectors of the music industry. Consideration of marketing as a broadened concept to include societal processes has implications not only for the marketing concept itself, but also for the roles of the parties implicitly involved in the marketing process. Therefore, the standard and polarising marketing clichés of “firm and customer”, “buyer and seller”, and “producer and consumer” may be replaced with a more contemporary marketing approach in which value can be created and shared by either party.

Initially the paper provides a review of contemporary literature on co-creational aspects of marketing and a subsequent identification of typologies of co-creation practices. Conceptual frameworks pertaining to the relationships of these typologies are then proposed. An extensive review and analysis of journal articles, industry reports and news sources on music industry marketing was conducted. From this review and analysis, 30 examples of co-creational marketing were identified. The music industry was chosen as it constitutes a relevant and contemporary marketing context due to the existence of interactive technology and changing consumer preferences regarding their interaction with music intermediaries and against a context of digital piracy.

Five typologies of co-creational marketing were found to be relevant to the music industry. Key examples of co-creational marketing within the music industry are discussed and analysed in relation to the identified typologies and conceptual frameworks.

The relevancy of co-creational marketing practices to the music industry is investigated, followed by consideration of managerial implications and future research directions.

The theoretical prospect of value co-creation through active consumer contributions to the marketing process is not revolutionary or new, but the implications of such a potential shift in power or influence have developed into a contemporary challenge for marketers.

The purpose of the study is to compare features of career development and fandom in frequent festival attendance in the context of Finnish music festivals.

The study uses a mixed methods research approach and employs two theoretical frameworks: theories of career development and fandom.

In frequent festival attendance, both festival career development and festival fandom are most clearly present in motivation development and social dimensions.

Strategically, frequent festivalgoers should be considered as crucial stakeholders, who might mobilize the co-creation of a sense of community or festival brand.

Music-related fandom has been previously investigated in relation to artists and specific musical genres, but not so much in relation to music festivals in general. Career studies, on the other hand, concentrate heavily on sports events. There is a scarcity of research scrutinizing both career development and fandom in the festival context within the same study, and festival attendance as part of music tourism is an under-researched area.

Despite the relatively low cultural status of department store music, it is proposed that music – the shopping soundtrack – is capable of transforming perceptions of the environment in which it is heard, and eliciting immediate emotional and behavioural responses, thus underlining the influence of music, regardless of whether it is passively heard as a background element or actively listened to as a live performance in a dedicated venue.

This study addresses a gap in the marketing literature for introspective research evaluating the experience of music in service environments. It draws upon auto‐ethnographic data through which participants ponder their own consumption experience and provide detailed, subjective accounts of events and memories.

When considering the effects of music upon emotional, cognitive and behavioural responses, it highlights the importance of musicscape response moderators.

The service environment appears more exciting and attractive and may encourage increased spending when background music is congruous with other servicescape elements. Music with positive autobiographical resonance elicits pleasurably nostalgic emotions, positive evaluations and longer stay. However, the aural incongruity of unexpected silence in music‐free zones produces feelings of discomfort leading to negative store evaluation and departure.

Qualitative data are deliberately represented using typically positivist discourse to encourage resolution of the inherent tension between interpretivist and positivist perspectives and stimulate increased methodological integration (e.g. through future studies of music combining quantitative and qualitative data).

The purpose of this paper is to examine recent government policies that have had direct and indirect effects upon Australian live music venues.

The paper provides a review of relevant government policies relating to live music and a case study approach examining live music's role in concepts of the “creative city”.

Policy affecting venues remains tied to wider governmental notions of risk management. The rise of evidence‐based research about venue activity is one effective means of negating instinctive policies that regard live music activity as simply problematic to night‐time economies.

The paper reveals the current debates and practical obstacles facing live music venues. Its Australian case studies are relevant to similar global debates in the live music industries, and how live music is marketed as part of “creative city” and “cultural city” campaigns.

This article discusses local cultural policies addressing popular music, and the values they imply, through a case study of Strasbourg's Espace Django, a publicly financed concert venue located in a disadvantaged neighborhood.

Espace Django's structural organization and overall cultural “philosophy” are described on the basis of field interviews and several documents related to the venue; they are then discussed in relation to literature on urban cultural policies and French policies concerning popular music.

Espace Django's activities embody a will to improve social interactions within local communities. The venue does not fit in either the “music city” or the “creative cluster” theoretical model. However, its policies belong to the French institutional tradition of Développement Culturel, and they express a tendency toward eventification and the experience economy.

In France, the public sector plays an important role in cultural practices, mostly through funding and policymaking. The example of Espace Django adds a distinct French perspective to a research field mainly centered on Anglo-Saxon countries and more liberal economies. Also, the appendix on Espace Django's response to the coronavirus disease 2019 (COVID-19) health crisis adds interesting elements for understanding what are the successful choices in the current cultural scenario.

The purpose of this paper is to examine the social marketing-based approach to live performance adopted by Jack Johnson and its potential as the basis of a developmental model for sustainable touring.

Musician Jack Johnson has been recognised as a leader in his approach to sustainable touring. The research approach uses stakeholder interviews to examine his “Sleep Through the Static” tour from a phenomenological perspective.

The activities adopted during the global tour provide “upstream” contributions to social change agendas as well as “downstream” contributions to change behaviour. “Downstream” contribution leans towards closed behaviour settings for the corporate community and open behaviour settings for the social community. Limitations are the extent of resources required; better understanding of audience targets and their perceived value of behaviour change.

The use of a single example means that consideration of the success of this model is limited to one approach when others might offer other options. However, the phenomenological approach is sufficient to begin to understand the value creation process at work here.

A range of performers in different cultural areas might consider the potential of this approach as a means to contribute to sustainable touring goals.

Much of the literature available for event managers focuses on environmental concerns to the neglect of other dimensions of sustainability. This work highlights how the social marketing of sustainable development offers a wider scope to touring performers.