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The aim of this paper is to test a new proposal of a model to analyze emotional outcomes in relation to the key factors constituting the experience of a music festival.

This article first examines how emotions and intangible impacts are conceptualized and analyzed by different disciplines; secondly, this article exposes the relevance of musical emotions and the contextual elements in the generation of the music festival experience; the article then proposes a new model to assess the emotional impacts of music festivals, named the Emotional Impact of Music Festivals (EIMF). Finally, this article shows the test of the model through quantitative and qualitative analysis.

The findings reveal that perceived emotions in the music festival context should be based on the definition of musical emotions. At the same time, the model combines the different sources of emotions taken from validated tools in multiple academic disciplines. The new proposal enables the emotional outcome of the music festival experience to be identified and helps to understand the weight of the experience's main elements.

The new proposed model facilitates the research on music festivals and illuminates the key role of music when organizing festivals to enhance attendee experience. Finally, this model reveals the main elements required to obtain an intense emotional outcome in these types of events.

The study expands the different scales and model proposals in live events and combines existent musical emotion models from the psychological perspective with theoretical models from the intangible impact evaluation. This study shows a genuine test for a theoretical model that can be further developed. Finally, this study shows how the new tool EIMF can help music festival organizers to understand the weight of the constituting factors of festival experience and the results in applied studies.

This study aims to examines how renaming music festivals with brand names affect festivalgoers' purchase intention in a Southwestern European country.

This study uses 291 festivalgoers' responses attending five music festivals in a Southwestern European country with structural equation modeling.

The study shows that the brand experience at the music festival directly influences brand attitude, which in turn positively influences purchase intention. The results also show the direct impact of event-sponsor fit on brand image transfer (BIT), positively affecting purchase intention.

The study examined only five music festivals in a Southwestern European country. Further studies can investigate multiple music festivals in different geographic regions. Four of the five sponsoring brands of the music festivals are telecommunication operators. Also, this study did not explore the differences in the effect of destination image, artist image and festivalgoers' attachment to music festivals.

The brand sponsorship of music festivals should ensure the event-sponsor fit to impact BIT and purchase intention positively. A synergy between events and sponsors must be created to involve consumers with the brands.

This study uses congruity theory in a music festival setting. The investigation is unique as it is conducted at five music festivals in a Southwestern European country.

The COVID-19 pandemic has prompted the fast growth of online music festivals. This paper explores how festivalgoers' experience affects their satisfaction and drives their loyalty to re-attend online music festivals in China.

Based on an understanding of the music festival experience and the characteristics of live-streamed performances, this paper investigates five factors that affect festivalgoers' satisfaction and loyalty, namely the music experience, ambience experience, separation experience, social experience and novelty experience. The relationships between festivalgoers' experience, satisfaction and loyalty are also explored using structural equation modelling techniques.

The empirical results suggest that four of the above-mentioned five factors of the online music festival experience directly affect festivalgoers' satisfaction and loyalty. The online mode is a rapid adaptation of and preferred alternative to offline music festivals, whilst the creation of the experience, along with satisfaction with and loyalty to the online music festival, are determined by different factors compared to offline modes. Overall festival satisfaction positively enhances the relationship between festivalgoers' experience and loyalty to online music festivals.

This study offers a range of practical and managerial implications for organisers of online music festival, similar activities such as live-streaming concerts and stage performances and hybrid events.

This study explores a phenomenon that has evolved quickly since COVID-19 and will, potentially, have an ongoing and enduring impact on the music festival sector. It differentiates the understanding of festivalgoers' experience in online and offline modes, which is a new addition to the literature. It also enriches the theoretical understanding of the experience of, satisfaction with and loyalty to online music festivals.

The main research questions critically examine online videos that draw attention to a local community of musical practice, noticing how these can potentially be included within the tourism promotion strategies. This paper develops a case study of four videos realised by the Louth County Board of the organisation Comhaltas Ceoltóirí Éireann (CCÉ) in Co. Louth, Ireland, as a part of the FleadhFest 2021 initiative. It highlights the role that virtual spaces have in enhancing a sense of belonging to a music/festival community as well as the possibility that visual and audio supports have in promoting and celebrating a destination and its cultural features.

The analysis involves a netnographic examination of these videos (Janta, 2017), informed by the concept of “tourist gaze” (Urry, 1990; 2002) and influenced by film-induced tourism studies (Beeton, 2005).

Results show how festival and event organisers responded to COVID-19 social restrictions by creating a virtual space for celebrating music heritage and local musicscape, placing an emphasis on local musical scene.

The research aims to inform future developments in how the organisation operates within and engages with virtual space, its members and a wider audience.

This is the first study to consider the virtual activities of CCÉ from an ethnomusicological as well as tourism, perspective.

Even though the importance of understanding festivals from a tourism attraction development perspective has been addressed, few studies have examined the factor of brand equity in festival tourism. For that reason, this research examines the antecedents and consequents of the consumer-based brand equity (CBBE) of an event.

After data collection, which was carried out through a questionnaire, the structural equation model was used to analyze the statistical data. The results were based on a sample of 329 participants who attended two major music festivals in Portugal: NOS Primavera Sound and NOS Alive Portugal.

For both samples, this research shows that many aspects related to the event (image, experience and satisfaction) impact CBBE and CBBE influences destination image, the intention to revisit the destination and the intention to recommend the destination.

This study presents itself as innovative since it brings the CBBE of an event to the center of an investigation, showing how it helps transfer the effects of image, satisfaction and the experience of a festival to a destination image, the intention to revisit and the intention to recommend a place.

This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.

Based on semi-structured interviews with 18 festival organisers in Rotterdam and participant observation with six festival photographers I show that symbolic and social boundaries are employed in three areas: (1) boundaries in festival format (i.e. [partially] free or ticketed), (2) boundaries in distribution partners and technologies and (3) boundaries in promotional content.

Symbolic and social boundaries are intentionally used by festival organisers to build and delineate festival audiences. Implications are drawn on current understandings of the accessibility of music festival spaces, arguing that festival research should move beyond within-space dynamics to grasp the negotiation of diversity and inclusion at festivals more fully.

While music festivals are often marketed as celebratory spaces that are “welcoming to everyone”, few studies have investigated diversity and inclusion nor marketing and promotion practices at music festivals. This study shows how festival audiences are shaped through marketing and promotion practices.

This paper investigates the information behaviour of creative DJs, a group previously not considered from the perspective of information studies. The practice of DJing is a musically creative process, where a performance can draw on a vast range of music to create a unique listening and dancing experience. The authors study what are the information behaviour processes involved in creative DJing and what roles embodied information play in DJing practice.

From a set of semi-structured interviews with 12 experienced DJs in Scotland, UK, that were subjected to inductive thematic analysis, the authors present a model of how DJs undergo the process of planning, performing and evaluating a DJ performance.

From this study, a model of creative DJs’ information behaviour is presented. This three-stage model describes the information behaviours and critical factors that influence DJs’ planning, decision-making and verification during the pre-performance, performance and post-performance stages, with particular emphasis on DJs’ performances as a rich site of embodied information interactions.

This research provides insight into a new activity in information behaviour, particularly in the use of embodied information, and presents a model for the information behaviour of creative DJs. This opens the way for future studies to consider minorities within the activity, the audience as opposed to the performer, as well as other creative activities where physicality and performance are central.

Building on the social leverage model (SLM), this study aims to examine the influence of event-related attributes on residents' perceived social impact of a major sport event, as mediated by event involvement. It also investigates the moderating effect of event rights holders' credibility on the relationship between event involvement and perceived social impact.

Using a two-wave, time-lagged survey, data were collected from 220 residents of a Super Bowl host city. Hypotheses were tested using structural equation modeling (SEM).

High celebratory atmosphere, social camaraderie and social responsibility as perceived before the event were associated with residents' perceptions of the social impact of the Super Bowl. Moreover, the association between social camaraderie and perceived social impact was mediated by event involvement. When appraising the rights holder as credible, involved residents reported an increased level of perceived social impact.

This study contributes to research on the SLM by demonstrating its application among indirect participants of major sport events. Additionally, it suggests the imperative role of rights holders' credibility in promoting the perceived social impact among involved residents.

This study aimed to detect the relationships between mindfulness and events participation, and then between the later and psychological empowerment.

The proposed model's underlying hypotheses were empirically tested with data collected through an online survey addressed to a convenience sample of frequent leisure participants (n = 199). The authors applied the structural equation model (SEM) to confirm the aforementioned relationships. To assess the adequacy of the psychometric properties of the measures, the authors performed a confirmatory factor analysis of the measurement model, with a maximum likelihood estimation method.

Under the effects of the lockdown period environment, the results express a positive relationship between a mindful state of mind – related to observation/attention – and the yearnings and perceptions about the participation in events. This relationship for consistency was proven to be moderated by the perception of the participation importance to the individual subjective well-being/mental health. Due to participation insights, there was a positive effect on psychological empowerment, supporting the relationship that had been hypothesized.

The authors propose and test a new model that contributes to the theory and examines how mindfulness behavior can effect more alluring and intense participation in events and what are the anticipated outcomes in terms of psychological empowerment.

The events sector is an innovative and dynamic working environment that requires a creative and diverse workforce to help it thrive. However, in the main, the events workforce is not diverse, with evidence suggesting that most leaders continue to be White and male. There has been no previous research exploring the experiences of ethnically diverse professionals in this environment. This paper aims to draw on the theory of racialised organisations to begin to address this gap and amplify the voices of ethnically diverse events professionals.

Qualitative, semi-structured interviews were conducted with 17 ethnically diverse event managers working in the UK events industry.

Covert and overt forms of racism and discrimination remain ubiquitous within the culture of event organisations, and in a number of guises, ranging from regular racialised microaggressions to more subtle forms of exclusion. The events industry needs to do more than pay lip service to neoliberal notions of diversity and acknowledge the ways in which racial relations of power shape the industry and the experiences of individuals within it, and design interventions to address these issues.

To the best of the authors’ knowledge, this study is the first to apply the theory of racialised organisations to the events industry, recognising the centrality of race and racism to events organisations and careers. In so doing, it offers essential insight into race and ethnicity in this sector and contributes to ongoing efforts to integrate race and racism within theorising in management and organisation studies.