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See More Categories. Your First Name. Zip Code. Yes, I have done this many times because when I am not at a show I like to see what's being played in real time. I have for a couple concerts, because when I'm not in concert attendance it's fun to live vicariously through others updating in real time.
I want to be more present during certain concerts Tori Amos concerts for sure. I don't anymore because it is too distracting for me. I can't remain present or in the moment. For these fans, their use of mobile internet was perceived as disrupting their engagement with the concert, acting as a barrier and rendering them as non-present in the moment and event.
In other words, the preservation and sharing of moments of the concert through technology appeared to reduce their connection and pleasure at the event, rather than enhance it. I find that disgusting, it totally breaks and rip into pieces the experience of a live performance. I believe doing so violates the sanctity of the concert-going experience.
If one is too busy fiddling with devices during a show, it is impossible to engage and be emotionally present. No, I don't text or tweet - when I'm at a concert I just want to focus on the artist and lose myself in the music. Personally I would find using my phone every song a distracting and annoying thing to do. No, I don't do this, because it would keep me from being connected with the music and the emotions.
To me, a Tori Amos concert is an emotional experience. I want to feel the music and feel the emotions that her music create for me and absorb them.
Other professed to logging the set-list through other means that did not involve their use of a mobile phone during the show. Instead, for these fans, a paper and pen was sufficient for them to note down during the concert the songs played: No, I write them down on a note pad, and then type them up on line after.
I do not do it during as it would be too distracting for me.
I don't tweet or text the show. I am really trying to be present in the moment, and not be distracted by technology.
I used to write them down by hand. However, it is interesting that the use of writing, rather than texting, during a concert is not perceived as disrupting the engagement with the event in the same manner as texting or tweeting. When asked if their own texting or tweeting or that of fellow attendees had ever disrupted or improved their engagement with a concert, 21 respondents declared that it had never disrupted them, while another 21 reported that it had disrupted them, with three other respondents claiming that tweeting and texting in particular had never impacted on their engagement with a show, but taking photos or filming in their iPads by fellow fans severely had.
One respondent described a moment where one fan was taking photographs with a loud beep that disturbed her so much I briskly crossed the [a]isle to her side and whisper-yelled STOP THAT. She jumped out of her skin, and complied. So comparatively, silent texting barely registers.
Overall, only one respondent directly claimed that it could be viewed as improving their engagement with a Tori Amos concert, which could be an indication of the activity being largely viewed as performed out of a duty to the rest of the Tori Amos fan community, rather than for personal gratification of the audience members.
In answers from participants who had never been disturbed or disrupted, there appeared a sense from some that their focus on the concert and performance was so strong that it could not be broken by being exposed to this act from other audience members: It hasn't because, well, because I've only been to the one concert and as far as I could tell no-one was doing it!
Having said that though, my focus was all on Tori! During a show I only have eyes and ears for the artist. I've never been disrupted by someone while they were texting.
I don't follow the tweets and text if I'm actually present Of those who did, or thought they would, feel disrupted by texting and tweeting, the glow of the mobile phone handset was a recurring theme, being mentioned by nine respondents: It hasn't [disrupted me] but I can imagine that if someone right next to me were to be doing it it would, because it's usually dark in the venues and a distracting bright light next to me would be annoying.
Similarly, of those who felt disrupted and had engaged in this act of tweeting and texting during shows, there appeared an acknowledgement that it was impacting on their engagement with the show: I try to pause and take in the music and the performance before sending an update. It does disrupt the flow of the show for me. Both the actual texting and the buzzing in my pocket that I have a response. I feel the anxiety to respond and keep other fans in the loop.
For a headliner or band I really enjoy I'll keep my phone in my pocket on silence. Another respondent also expressed the same feelings towards missing certain elements of the show in their efforts to keep the non-physically present online fans informed: Sometimes, when you feel there is a dependency on you to tweet or text the setlist, you can become so engaged in doing so that you may not get to experience every subtle nuance of the show.
You may miss a quick joke that is delivered by the artist on stage or a quick look or just a single note of a song and you will never get to experience that moment again. For this individual, the small and subtle moments of the performance that can be missed when using a mobile phone are the key drawbacks of the practice. In terms of the technological act itself and its placement within the wider Tori Amos fan community, I asked participants to describe how vital they perceived this process to be within Tori Amos fandom.
Despite the majority of respondents earlier indicating that they would not engage in the practice, a recurring and liminal theme within these answers was a sense of the technological practice by physically present fans to be offering a sense of inclusion to those who could not be there:: As a frequently non-present fan, I think it's very important.
We get a huge sense of community when we are taking part in a show we're not actually in. It's also interesting how we feel happy when an unusual song gets played. Since I can only go to one show per tour tops, I love getting setlists in real time for the other shows I don't go to. Sometimes I will even play the same songs in my iTunes to see if I can get the vibe of the show by hearing those songs in that order.
It promotes group experience of the concert. I see it as quite a social thing to do. While these fans reflect on the shared experience that the practice promotes, others also articulated how the process importantly worked to strengthen, solidify and maintain a sense of community among the fans: I think it is very important, as someone who has not had the opportunity to attend concerts , it plays a very important role in keeping the Tori community together, I for one loved sitting in front of my computer waiting for that next tweet and all the facts and figures that follow from other fans, whether at the concert or also watching the set list live-tweeted, someone has always got some contribution to make.
I think it makes the fanbase more solid, cooperative and it works as a feedback to the shows. It keeps people's excitement high during all the tour, a thing that never happened to me with other bands who always stick to the same setlist night after night, or who's not really good live. I really enjoy participating in the setlist frenzy, you actually feel the tour is happening, somewhere. In the above responses, fans who were unable to attend multiple concerts on Tori Amos tours in particular expressed their value of the texting and tweeting process.
As one respondent stated: It's very important. It feels that Toriphiles are committed not only to Tori but to each other too. Another respondent also articulated the powerful impact this process and inclusion can have on those who are both physically and non-physically present at a show in as much as the energy of the live performance is expanded and reaches out beyond the boundaries of the room: If you think about it I really think it has the potential to make everything as a whole more powerful The pursuance of this inclusivity around a live event, despite any conflicts or disagreements that may occur within, could be interpreted as the driving force, for some of these Tori Amos fan respondents, in their engagement with this technological practice.
Another fan respondent viewed the value of the practice resting, not only in its power of communal inclusion, but also in its preservation of important historical moments within the fan community that may otherwise not be chronicled: I think it's very important. I often to go a lot of small gigs by up and coming artists who do not yet have a long-term loyal fan base. There are even some recent Tori shows that don't have complete and accurate setlists and this is a terrible shame for an artist who has such a long term, loyal fan base who are interested in the statistics of her concerts.
By tweeting or texting a live occurrence, we are helping to record moments in history that may never be repeated and this fascinates me, especially when I know how much pleasure the non-present fans gain from this. I show how these technological acts during live concerts are now perceived by some fans as a vital element with which to solidify a communal feeling and inclusivity amongst the fan community.
These findings lead to two key considerations. As mobile internet technology develops further and may offer more tools for the inclusion of this non- present audience, absent fans may have an even stronger presence that works to stretch this tension even further. Secondly, how engagement is approached by other music fans may also be called into question and complicated further.
However, in the same audience will often be those who attend concerts by acts in different music genres and by artists who do not change their set-list between shows, and their responses to these activities may be remarkably different. For example, within some music fandoms and their respective live concerts, and in particular those that are encouraged by the artist themselves Baym ; Schlager , being engaged may involve raising mobile phones in the air during songs, taking photographs, shooting video and texting or tweeting to those who are not physically present.
Finally, from a future research perspective, audience researchers could attempt to keep pace with these changing technologies by investigating these practices further through conducting other exploratory studies of live music audiences, either through ethnographic research during the shows, or by analysing data on social media platforms.
In this sense, the impetus should be an examination of how fans not only use the platforms and technologies, but how they articulate and understand these practices.
For, as technology develops even further, we may find that, for some individuals, their notions and understandings of engagement as an audience member or fan in attendance at a live music concert also develops and shifts accordingly. Bibliography Amos, T. Piece by Piece: A Portrait of the Artist. Fans or Friends?: Available at: Baym, N.