For decades, concerts have cultivated their own culture. From developing a killer outfit to making the journey to the venue, concerts have become another form of self-expression for many.
In conversation, specifically about music, it is almost customary to hear someone mention “Oh, I’ve seen them in concert” or “I want to see them live,” acting as a gauge of interest for a band or artist.
As time goes on, however, I have found that the culture surrounding concerts has become dulled by a myriad of social and economic factors.
Concerts used to be for the sake of the music, but recently have seemed to be transforming into a performance for the audience as much as the musicians themselves.
My first ever concert was Coldplay during their 2016 tour for “A Head Full of Dreams.” We were in the nosebleeds at Soldier Field in Chicago with intense heat lightning highlighting the sky after a summer storm rolled through the city.
The thunder echoed through the streets, but despite my fear, the concert became a moment I come back to often in reflection.
The way the crowd interacted with each song converted my interest in music into a devotion to the artistry behind each chord and the placement of each lyric in juxtaposition with the back track. There was respect in the audience, not only for the band, but for each other.
In recent times, concert etiquette and the availability of concerts as a form of enjoyment for all listeners have been on a steady decline.
For those who may be unfamiliar, concert etiquette is a set of unwritten rules to be followed when you buy your ticket, consisting of respecting fellow audience members, performers and concert venue staff.
More and more stories have become commonplace of people pushed up against the gate in the front row of the pit, being trampled by a rushing crowd, a mass exodus from the venue after one or two songs or throwing discarded items at the performers onstage.
An example of this is the 2021 “Astroworld” incident at a Travis Scott concert. Several members of the audience lost their lives due to crowds rushing forward, causing some to be trapped and blatant disrespect for the venue. Incidents like these show that maintaining a safe and mindful environment is necessary.
There has also been an increase in incidents where the performers have fallen victim to the disrespect of the crowds.
In July of 2023, singer Bebe Rexha was struck in the eye with a phone that had been thrown on stage by a member of the crowd, requiring her to get stitches. While working with the crowd that paid for the show is important, it is also reasonable for the artists to expect a level of decorum in the audience for their own safety, as well as others.
Another less violent incident of disrespect comes from Lizzie McAlpine. The burgeoning singer has a popular song called “Ceilings,” which at her concerts is followed by an emotional song about her father.
Though McAlpine noticed that people would pay for her shows to hear “Ceilings” and then leave immediately after, leaving the crowd empty and decimating the concert atmosphere she had crafted.
Buying tickets to leave after only one or two songs takes away from the opportunities of others who may genuinely be there for the music itself, not the content, to get tickets. In a climate where Ticketmaster makes it nearly impossible to score tickets and prices have shot through the roof, these instances destroy the beauty of live music.
Many attribute these problems to a post-COVID world. However, as we approach nearly four years since the quarantine was lifted and restrictions were lessened, there becomes less of an excuse for this type of behavior.
So, what can be done?
Many artists try reintroducing culture by incorporating surprise elements to their concerts, like Taylor Swift with varying surprise songs each show or ROLEMODEL with his song “Sally.” These components of their concert create excitement surrounding the music, not necessarily the content, people can farm for views.
Concerts are meant to be enjoyed for the music, so emphasizing that over the aesthetic of a concert itself can help to reintroduce standards that were seen in previous years.
Supporting local live musicians can also help reinstate these standards on a small-scale level, translating that to arenas and stadiums alike.
Concert culture should not become cancelled culture, but rather reform to put focus back on the musicianship and lyricism that captivates audiences across oceans.