An exploratory study of hedonic consumption & nostalgia among the Depeche Mode fan community

Acknowledgements

I would like to thank Professor David Marshall (Business School, The University of Edinburgh) for his continuous academic support throughout the entire process of writing this dissertation. In addition, I must express my eternal gratitude to all interviewees for their participation – this project would not have been completed without their contribution.

Finally, I would like to thank Depeche Mode for being part of my little universe.

“In a world full of nothing

 Though it’s not love

 It means something …”

 Martin L. Gore

Abstract

The goal of this dissertation is to explore the fans’ hedonic consumption experiences of Depeche Mode live concerts as well as the role that nostalgia might have in relation to such emotional activities. Their long-term commercial presence and intensely devoted fan following were the key reasons for selecting Depeche Mode as a primary focus of this exploratory study. In order to obtain insights and deeper understanding of the researched community, a market-oriented microethnographic approach was undertaken.

Initially, a comprehensive literature review provides rich analysis of two major themes related to the overall dissertation aim – hedonic consumption and nostalgia. In addition to the broad discussion of their distinctive characteristics, the section outlines the crucial and contextually relevant bond between both concepts.

Furthermore, a multi-method qualitative approach that incorporates semi-structured interviews as well as participant observation is undertaken. The discussed research methods resulted in a rich list of findings that showcases the alluring and intense appeal of Depeche Mode live performances as well as the debatable role of nostalgia in the context of such events.

This exploratory study benefits the marketing practitioners by outlining multiple insights in regards to consumers’ experiences at entertainment events as well as their motivations to engage in such hedonic activities. The conducted research has demonstrated that music concerts are important features in the process of deepening the connection between artists and fans. Thus, industry professionals must use such occurrences to successfully channel their marketing messages.

Chapter 1: Introduction

1.1 Research Purpose

Over the past decades, there has been an evident growth in academic contributions related to arts, music and entertainment. It can be argued that the discussed areas incorporate specific symbolic aspects of consumption that make them particularly attractive for investigation (Hirschman & Holbrook, 1982a). Kerrigan et al. (2007) maintain that music, in particular, has a wide range of social functions including healing and storytelling that could both lead to emotional stimulation. Similarly, Crozier (1997) claims that each musical performance is a unique social experience that is able to spiritually elevate the audience. In addition, Lacher (1989) argues that music consumption is primarily hedonic – one that is better explained by reference to fun, fantasy and its corresponding experiential aspects.

Middleton (1990), on another hand, identifies three approaches to the study of commercial music – structuralist, culturalist as well as political-economic. While the structuralist method examines the way in which meaning is generated in musical texts, the culturalist one is looking at live music consumption as an active rather than a passive process – a notion that resonates with Ambrose (2001) extensive research on fan reactions during concerts (Kerrigan et al., 2007). Last but not least, the political-economic approach deals with the industrial role of capitalism and its impact on consumers’ tastes (Middleton, 1990). 

Authors such as Kerrigan et al. (2007, p. 19) discuss the communal character of music concerts while claiming that “it is in the live performance that the hedonic, experiential and symbolic aspects of the artist-fan relationship become most intense, that fans and band experience a sense of flow and communitas”. Throughout the years, attempts have been made to research fans’ ritual dimensions (Gainer, 1995) as well as motivations to attend gigs (Kruger & Saayman, 2012), however, there has been an evident gap in studies exploring the broad spectrum of emotions that typical concertgoers go through when attending a performance.

Thus, this qualitative study aims to investigate the fans’ hedonic consumption experiences of Depeche Mode gigs as well as the possible role of nostalgia as an emotional trigger. In the process of data collection, participant observation and semi-structured interviews were conducted across five concerts of the British music collective. Active since the early 1980s, the synth-pop pioneers Depeche Mode have been selected as a focus of this exploratory case study due to their long-term commercial presence as well as devoted and loyal following (Rolling Stone, 2017).

1.2 Research Objectives

This exploratory study has been based on the following primary objectives:

• To explore fans’ hedonic consumption experiences of Depeche Mode live shows.
• To explore whether nostalgia plays a role in relation to fans’ experiences of Depeche Mode concerts.

1.3 Research Context

This section will aim to provide a comprehensive background of the contemporary live music industry as well as detailed information on the overall study context.

1.3.1 The Global Live Music Industry

Larsen & O’Reilly (2005) claim that live performances play a crucial role within the global music industry. The economic impact of such events is unarguable as attendees spend money not only on concert tickets but also merchandise, parking fees as well as food and beverages (Hausman, 2000). Live performances can also generate revenue from hotel rooms, restaurants and transport costs (Earl, 2001). In addition, academics such as Kerrigan et al. (2007) emphasize the central role of gigs within the overall music brand web while highlighting their importance in maintaining strong relationships between artists and their followers (see Figure 1).

According to PwC (2016; 2017), the global music industry revenue is expected to grow at nearly 3.5% by 2021 (see Figure 2) while its live segment – by additional 3.6% by 2020 (see Figure 3).

The presented data resonates with the commercial success of recent worldwide tours by artists such as U2, Rolling Stones, Bon Jovi and Depeche Mode. For instance, the highest-grossing live production of 2016 – Bruce Springsteen’s The River Tour, earned the remarkable 171$ million in ticket sales (Forbes, 2016). In addition, the four consecutive Coldplay concerts that took place at Wembley Stadium in 2016 grossed 29.7$ million alone (Billboard, 2016). These noteworthy figures show that live performances are key aspect of the popular music culture and possess a tremendous marketing potential due to their broad appeal across various segments.

1.3.2 Depeche Mode & the Global Spirit Tour

As previously outlined, this exploratory study will concentrate on researching the Depeche Mode fan community and its hedonic consumption experiences in relation to live performances. Founded in 1980, the discussed musical collective was formed in the city of Basildon (United Kingdom) by four original members – Andy Fletcher, Dave Gahan, Martin Gore and Vince Clark (Live Nation, 2017). The band has been described as one of the most influential and best-selling musical acts of all time with over one hundred million records sold throughout their career (Depeche Mode, 2017). The dedicated and fanatic Depeche Mode following has been labeled as “a race, a diaspora” which encompasses “a mass of supporters viewed by the band with a mixture of gratitude, obligation and fear” (New Statesman, 2017). The intensity and strength of the above-mentioned artist-fan relationship was the primary motive in selecting the discussed community as a target of this exploratory study.

It must be outlined that all data collection took place throughout the Global Spirit Tour – a string of live performances which aimed to support Depeche Mode latest studio album “Spirit”.  The attended concerts were part of the European Leg of the discussed production which initial seventeen dates sold 613,700 tickets alone while grossing 46.5$ million in box office revenue (Billboard, 2017).

The world tour which premiered in Stockholm (Sweden) on 5^th May 2017 is expected to continue for fourteen months with a final show scheduled on 25^th July 2018 at the Waldbühne in Berlin (Germany) (Depeche Mode, 2017).

1.4 Structure of Dissertation

The above sections summarized the context of this dissertation while the following chapter will present an extended literature review with emphasis on two major themes – hedonic consumption and nostalgia. Subsequently, Chapter 3 will provide an in-depth analysis of the undertaken methodological approach as well as the epistemological nature of this exploratory study. Chapter 4 will then showcase all findings that correspond to the outlined research objectives. Last but not least, Chapter 5 will summarize the discussed findings before concluding with the relevant managerial implications as well as recommendations for future research.

Chapter 2: Literature Review

2.1 Introduction

This literature review will analyze and explore two major themes related to the overall dissertation aim – hedonic consumption and nostalgia. Academic findings and theories associated with the two broad areas will be presented in consecutive manner while supported by contemporary industry examples.

Firstly, discussion on hedonic consumption and its relation to consumer decision-making frameworks as well as experiential marketing will be developed. In addition, a detailed presentation of Lacher & Mizerski (1994) Hedonic Music Consumption Model will be conducted.

Secondly, the concept of nostalgia – the “emotional state in which an individual yearns for an idealized or sanitized version of an earlier time period”, will be explored in-depth (Stern, 1992, p. 11). Furthermore, the features of nostalgia marketing will be discussed as well as the academic observations on music-evoked nostalgia.

Last but not least, a segment analyzing the crucial bond between hedonic consumption and nostalgia will be presented while applying numerous present-day industry examples.

2.2 Hedonic Consumption

The area of hedonic consumption has been attracting an ever-growing interest among researchers since its academic inception in the early 1980s. A crucial precursor of the study of hedonic consumption was the theoretical stream of Motivational Research that gained popularity in the late 1950s and emphasized the “emotional aspects of products and the fantasies that products could arouse and/or fulfill” (Hirschman & Holbrook, 1982a, p. 93). In addition, authors such as Levy (1959; 1963; 1980) as well as Grubb & Grathwohl (1967) have been credited as contributors in establishing the initial link between product symbolism and hedonic consumption.

Throughout the years, research in the sphere of hedonic consumption has explored various areas including individual characteristics that affect hedonic response (Holbrook, 1986), hedonic product features (Holbrook, 1981), hedonic behavior styles (Hirschman, 1983) as well as a measure of experiential involvement (Mizerski et al., 1988). However, it was the seminal 1982 article by Elizabeth Hirschman & Morris Holbrook “Hedonic Consumption: Emerging Concepts, Methods and Propositions” that attracted the initial academic attention to the discussed concept. According to the two researchers, hedonic consumption “designates those facets of consumer behavior that relate to the multisensory, fantasy and emotive aspects of one’s experience with products” (Hirschman & Holbrook, 1982a, p. 92). Mizerski et al. (1988) emphasize that it primarily focuses on art-related offerings such as fashion shows and live concerts due to the ability of such experiential products to generate emotional response. Furthermore, Alba & Williams (2012, p. 3) argue that “an universal and essential feature of hedonic consumption is that it is (and is expected to be) pleasurable” concluding that its ultimate goal is the pleasure itself. In other words, individuals make decisions in regards to pursuing such consumption style based on what offerings are found to be most enjoyable for a certain period of time (Roseinzweig & Gilovich, 2012).

Hirschman & Holbrook (1982a, p. 92) claim that the multisensory aspects of hedonic consumption relate to experiences that resonate with “multiple sensory modalities including tastes, sounds, scents, tactile impressions and visual images”. According to the authors, the evoked images can be of two types – historic and fantasy (Hirschman & Holbrook, 1982a). The former is said to involve recalling an event that occurred in reality while the latter occurs when “the consumer respond by producing a multisensory image not drawn directly from prior experience” (Hirschman & Holbrook, 1982a, p. 93; Singer, 1966). In other words, “instead of replaying a historic sequence, the consumer constructs an imaginary one” (Hirschman & Holbrook, 1982a, p. 93).

In addition to the presence of multisensory imagery, emotional arousal can also occur as a response to hedonic consumption (Snell et al., 1995). It can be argued that emotions can represent motivational phenomena while combining expressive and experiential components such as fear, jealousy, joy, rage and rapture (Freud, 1955; Izard & Beuchler, 1980). Hence, Holbrook (1980) claims that pursuing emotional arousal is a major motivation in the consumption of product classes such as sporting events and theatrical plays. Similarly, while discussing whether individuals derive more pleasure in consuming possessions or experiences, Van Bolen & Gilovich (2013) conclude that the latter contribute to greater amount of personal happiness and satisfaction, despite their temporary nature.

 2.2.1 Traditional Information-Processing versus the Experiential Views of Consumer Behaviour

Large percentage of the twentieth century consumer-related academic research has primarily focused on the tangible benefits that utilitarian products and services offer (Hirschman & Holbrook, 1982b). Academics such as Bettman (1979) discuss the traditional information-processing view of consumer behaviour which depicts the individual as a logical thinker who must solve a diverse set of problems before deciding on a purchase. This classic approach is said to be based on operant conditioning where post-purchase satisfaction acts as reinforcement for repeat purchases in future (Zuckerman, 1979).

Sheth (1979), on another hand, argues that the described framework might ignore crucial consumption features including esthetic enjoyment and emotional responses that can both evoke fantasies, feelings and fun among users. Furthermore, Hirschman & Holbrook (1982a, p. 94) claim that the traditional research has overlooked “multisensory afferent and efferent consumer response, while measuring semantic rather than emotive and imaginal reactions to products”. Therefore, they emphasize the importance of exploring such ”experiential view” that considers consumption as a “primarily subjective state of consciousness with a variety of symbolic meanings, hedonic responses, and esthetic criteria” (Hirschman & Holbrook, 1982b, p. 132). Furthermore, the two authors present a model that outlines the differences between the classic information-processing view of consumer behavior and its experiential counterpart (see Figure 4).

In his seminal article “Symbols For Sale”, Levy (1959, p. 118) maintains that all products may carry a symbolic meaning adding that “people buy things not only for what they can do, but also for what they mean”. However, one can argue that in specific areas such as arts and music entertainment the symbolic role of all offerings might be richer and more salient in comparison to other market spheres. In similar fashion, Lacher (1989) claims that music consumption is primarily a hedonic one due to its emotive aspect – a notion that contrasts with the philosophy of the traditional decision-making approach. In their research on experiential features of consumption, Hirschman & Holbrook (1982b) note the crucial role of primary process thinking in consensus with the pleasure principle. It is said that the latter is oriented towards achieving a hedonic response while possessing primary nature by pursuing immediate pleasure (Hilgard, 1962).  In other words, such type of consumption differs from the utilitarian one as it seeks enjoyment, amusement, sensory stimulation and emotional arousal.

Last but not least, it must be outlined that the hedonic perspective introduced above does not aim to replace traditional theories but to develop and enhance their applicability. Consumer behavior is a delicate and subtle area that cannot be explained solely via any single behavioristic or psychoanalytic model, thus, numerous factors must be taken into consideration when conducting an in-depth thematic research. 

2.2.2 Hedonic Consumption & Experiential Marketing

Sistenich (1999) argues that events can be an attractive tool in evoking hedonic experiences due to their ability to involve consumers in unique activities that result in intangible benefits. Major brands such as Gazprom, MasterCard, Marlboro and Sony have often been associated with entertainment or sporting events while some entities have even established their own music festivals including San Miguel Primavera Sound, Heineken Open’er and Red Bull Music Academy (Vila-Lopez & Rodriguez-Molina, 2013). A quantitative study conducted by Gursoy et al. (2006) even goes further asserting that hedonic fantasies are the primary reason for users to attend such social gatherings.

Pine & Gilmore (1998, p. 714) discuss the industrial shift from “service-based marketing” to “experience-based marketing” maintaining that “successful experiences are ones that consumers find unique, memorable and sustainable over time”. Thus, it can be argued that such phenomena can occur when consumption is characterized with numerous symbolic meanings and hedonic responses (Hirschman & Holbrook, 1982b). In addition, Heinonen et al. (2010, p. 543) claim that the “ultimate outcome of marketing should not be the service but the customer experience and the resulting value-in-use for customers in their particular context”.

In the past decades, the concept of experiential marketing has received a significant attention from various researchers – a notion supported by the argument that users are becoming less receptive to traditional advertising (Belch & Belch, 2007). Gavilan et al. (2010) claim that such approach aims to challenge the rational notion of product consumption while providing a new perspective directed towards experience. According to Schmitt (2000), there are five major components of experiential marketing – sense, feel, think, act and relate. While sense is said to evoke sensory experience by stimulating human’s five senses (taste, smell, sight, sound and touch), feel resonates with user’s inner feelings as well as emotions both triggered by experiential marketing (Ju et al., 2016). Think, on another hand, encourages consumers to question while emphasizing on a problem-solving approach (Ju et al., 2016). Furthermore, the act component aims to inspire customers to take actions as opposed to relate that is linked to a marketing appeal which uses a social identity culturally-embedded in a community (Ju et al., 2016; Schmitt, 2000). It is important to outline that a crucial common function of these components is their ability to allow individuals to “relive certain past times, and elicit feelings of nostalgia” (Ju et al., 2016, p. 2064).

In addition to the discussed five mechanisms of experiential marketing, Vila-Lopez & Rodriguez-Molina (2013) outline three experiential antecedents in an enthusing event such as live music concert – surprise, participation and immersion. Firstly, surprise involves sensing and is regarded as “the feeling of freshness, exclusivity and differentiation in the process of consuming products or services” that leads to emotional experiences (Vila-Lopez & Rodriguez-Molina, 2013, p. 715; Kao et al., 2007). Secondly, the notion of participation involves learning and deals with the level of interaction between the audience and the offerings (Vila-Lopez & Rodriguez-Molina, 2013). An exploratory study by Drengner (2003) concludes that audience members feel higher emotions due to the voluntary nature of their participation in such social gatherings. Thirdly, the antecedent of immersion involves doing and represents the involvement of individuals while enjoying the event consumption process (Vila-Lopez & Rodriguez-Molina, 2013). In other words, such practice can allow consumers to participate in a hedonic experience while being absorbed in a world full of fantasy – “an imagination unrestricted by reality” (Mackellar, 2008, p. 9). Lastly, the discussed process is said to be rapid or gradual – both leading to momentarily disconnection with the real world while encouraging future purchase intentions (Fornerino et al., 2008; Kao et al., 2007).

2.2.3 Hedonic Music Consumption Model

Similarly to the prior discussed event industry, the global music business has been attracting a multibillion-dollar income for many years. According to the latest Global Music Report issued by IFPI, this popular market has grown by 5.9% in 2016 drawing worldwide annual revenue of $15.7 billion (IFPI, 2017). Lacher & Mizerski (1994, p. 366) define music consumption as “the act of listening to a piece of music” while emphasizing on its substantial emotive features that could lead to experientially driven purchases. In addition, the two authors argue that music is primarily consumed in two ways – by listening to pre-recorded pieces or by attending live performances.

Lacher (1989) outlines three key reasons for listening to music – emotional stimulation, cognitive stimulation and situational factors. While the emotional stimulation refers to the role of music as emotive provocateur, the cognitive one deals with the ability of music to act as a “mental massage” (Havlena & Holbrook, 1986; Lacher & Mizerski, 1994). Last but not least, situational factors emphasize on the distinct role of music in relation to social gatherings including concerts, weddings and funerals (Sloboda, 1985). Thus, it can be concluded that an individual can look at music consumption experience in two ways – “with the view of the experience that the product creates by itself or with the view of the experience that the product enhances” (Lacher & Mizerski, 1994, p. 367).

In pursue of linking the process of listening to musical pieces with future purchase intentions, Lacher & Mizerski (1994) list four key responses that are present when a pre-recorded song is heard – sensorial, imaginal, emotional and analytical. While the sensorial response is the most basic and includes primal reactions to music, the imaginal one deals with the fantasy aspect of hedonic consumption – a notion that resonates with the claim that music can be used “as a stimulus to trigger nostalgic thoughts” (Holak & Havlena, 1992; Lacher & Mizerski, 1994, p. 368). The emotional component, on another hand, symbolizes the feelings triggered by a particular song such as happiness, sadness, joy or love (Hargreaves, 1982). Lastly, the analytical response to music represents all expectations that hearers develop when listening to an arrangement such as melody progression and harmony construction (Lacher & Mizerski, 1994).

In addition to the discussed concepts, Lacher & Mizerski (1994) present four constructs that may affect future music purchase – experiential and overall affective responses, the need to re-experience the piece as well as purchase intention, that all form the model of music consumption and purchase intention (see Figure 5).

The discussed framework suggests that the emotional, sensorial, imaginal and analytical responses are in direct positive relationships to the experiential and the overall affective responses – a connection that can lead to purchase intention (Lacher & Mizerski, 1994). Furthermore, the examined link between all hedonic music responses and the experiential one, resonates with the reviewed hedonic consumption paradigm which argues that a single experience might consist of emotional, sensorial and imaginal aspects (Holbrook & Hirschman, 1982b). In other words, strong and positive involvement with the musical piece might lead to desire to re-experience it – an evident sign for purchase intention and the ultimate outcome of the discussed framework.

2.3 Nostalgia

The notion of nostalgia and its influence on consumer behavior has received a substantial attention from marketers and advertisers. Davis (1979, p. 7) describes the term as “yearning for yesterday” maintaining that “despite its private, sometimes intensely felt personal character, it is a deeply social emotion”. In addition, Belk (1990, p. 670) emphasizes that the concept refers to  “a wistful mood that may be prompted by an object, a scene, a smell, or a strain of music”. Holbrook & Schindler (1991, p. 330), on another hand, present an alternative definition of nostalgia identifying it as “a preference towards objects that were common when one was younger … or even before birth”.

Authors such as Holak & Havlena (1998, p. 222) claim that the pleasant memories evoked by nostalgia are frequently combined with “a sense of loss associated with the realization that the past cannot be recreated”. In other words, the link between sadness and desire may resonate with such comprehension due to the unfeasible possibility to physically return to a specific time and place in the past. Thus, it can be argued that this mixture of warmth and bitterness showcases the intricacy of the described phenomenon (Holak & Havlena, 1998).

Davis (1979) outlines three possible orders that the nostalgic experience can assume. While first order or simple nostalgia relates to the notion that life was better in the past, the second order, known as reflexive nostalgia, encompasses a critical situational analysis instead of sentiment (Holak & Havlena, 1992). Last but not least, the third order nostalgia or an interpreted such, involves an examination of the particular nostalgic experience itself (Davis, 1979). Similarly, Baker & Kennedy (1994) suggest that there are multiple levels of nostalgic associations including real, simulated and collective ones. While real nostalgia is associated with the sentimental yearning for an experienced past, the simulated one refers to an inexperienced such that may be recollected through stories told by a relative (Baker & Kennedy, 1994). The collective component, on another hand, is said to represent a specific culture or generation and may reflect their musical taste (Belk et al., 1989; Holbrook & Schindler, 1989).

Furthermore, the topic-related academic literature has differentiated between personal, historical and intergenerational nostalgia. Stern (1992) argues that personal nostalgia is based on an idealized reconstructed past while historical nostalgia involves an escape from present problems and challenges by looking at the “good old days” (Reisenwitz et al., 2004). Intergenerational nostalgia, on another hand, encompasses memories that are created through interactions with individuals who have lived through earlier and long gone periods (Davis, 1979).

Last but not least, several academic studies have investigated whether factors such as age and gender influence individuals’ proneness for being nostalgic. In his seminal quantitative study, Holbrook (1993) explores the relationship of users’ nostalgia proneness with their customer patterns outlining a scale with twenty statements that aim to discover the variety of nostalgia-related tendencies of male and female participants (see Figure 6).

2.3.1 Nostalgia Marketing

In the contemporary marketing world, consumers are continuously encouraged to experience nostalgic feelings through the application of specific themes and images in advertising. While Havlena & Holak (1991) discuss the ability of such common practice to create fantasies or memories among users, Holbrook (1990) argues that nostalgia marketing is able to turn yesterday into an attractive trend among individuals. Similarly, Kozinets et al. (2003, p. 96) support the feasibility of such approach asserting that “when the real is no longer what it used to be, nostalgia assumes its full meaning”. Ju et al. (2006), furthermore, conclude that nostalgic marketing is an integral part of the experiential such due to its role of allowing consumers to re-experience their enjoyable past.

In their influential netnographic study, Brown et al. (2003) explore the brand revival and nostalgia-evoking advertising strategies of products such as Volkswagen Beetle and Star Wars: Episode I – The Phantom Menace. The authors argue that using the discussed tool when communicating such offerings provides recipients with “a sense of comfort … a safe haven in an unsafe world” (Brown et al., 2003, p. 20). Correspondingly, Reisenwitz et al. (2004) list several companies that have benefited from the implementation of nostalgia in their advertising campaigns including Coca Cola, Ford Motor Company as well as Kellogg’s Rice Krispies.

As previously discussed, research has suggested that nostalgia can assume multiple forms or levels. Hence, Havlena & Holak (1991) state that majority of the contextual techniques used by advertisers are designed to elicit first-order nostalgia. In other words, the recipients of such messages show little attempt to critically examine the long gone times they had been transported back to – a notion that resonates with Davis (1979) claim that the past is usually remembered as better than it probably was.

Lastly, Kozinets et al. (2003) argue that reviving old products is a beneficial and feasible corporate strategy due to the fact that such offerings are cheaper and less risky to launch. In addition, demographic developments, socio-economic turmoil and the “fin de siècle” factor have been listed as other explanations for the ever-growing popularity of the so-called “marketing retroquake” (Kozinets et al., 2003, p. 88).

2.3.2 Music-evoked Nostalgia

Due to its social and cultural nature, music is an important aspect of individuals’ daily lives. In their quantitative piece of research, Janata et al. (2007) argue that hearing a specific musical piece might evoke autobiographical memories and multiple emotions associated with them. Similarly, Barret et al. (2010) discuss the link between nostalgia and music declaring that the former is an emotion triggered by the latter – a notion that resonates with Reisentwitz et al. (2014, p. 56) claim that “music may serve as a nostalgic stimulus”. Holbrook & Schindler (1991), on another hand, extensively analyze David Frishberg’s work while asserting that he might be the best example of an artist whose songs are able to connect listeners to their “dear departed past” (Reisentwitz et al., 2004, p. 56). However, it must be outlined that music-related nostalgic emotions might not only be associated with positive memories but also with negative such – an assumption that echoes with the previously discussed nostalgia-related bitter-sweetness (Barret et al., 2010).

Furthermore, Holbrook & Schindler (1989) argue that individuals express strongest connection to musical pieces that were popular during their teenage years – a notion that can be explained by the presence of emotionally prevalent events such as romantic relationships as well as school gatherings. It is these types of consumer segments that are targeted by the newly popular concert tours such as the “I Love the 90s” and “RFM Party 80” – productions that aim to satisfy fans “for whom the connections between present and past are a thing to marvel at and wonder about” (Barret et al., 2010, p. 401; Derbaix & Derbaix, 2010; Rolling Stone, 2016). After conducting an extensive quantitative study, Baumgartner (1992, p. 619) concluded that such preference towards retro songs “may not be a function of the music per se, but a consequence of the personal associations people have with the music” – an argument that resonates with the work of Derbaix & Derbaix (2010, p. 61) who maintain that “it is not the musicians themselves the spectators come to see and hear but rather relics of their own past”.

The ability of such events to elicit first-order or simple nostalgia among majority of the viewers is a key element in their recent industrial renaissance. It can be argued that the evoked memories during those performances are both personal and collective, thus, appealing to a broad emotive spectrum. However, it is also likely that for some consumers, such retrospective concerts might have an indirect character – a statement that relates to the notion of intergenerational or vicarious nostalgia (Derbaix & Derbaix, 2010). In other words, some of the attendees might associate themselves with selected musical pieces through family stories, movies or old vinyl collections.

In sum, it can be concluded that the emerging success of nostalgia-related events is primarily due to consumers’ desire to seek authentic experiences combined with a strong aspiration to go back to the original source (Cova & Cova, 2002a). This statement reflects the view of Derbaix & Derbaix (2010, p. 61) who maintain that music can be a prominent factor in the process of reliving “all the magic of the 1960s, the 1970s and the 1980s”.

2.4 Hedonic Consumption & Nostalgia

As discussed earlier, nostalgia can relate to hedonic consumption activities such as live music concerts and sports events. Holbrook (1995, p. 262) emphasizes the importance of the former claiming that “compared to listening to a recorded performance at home, the peak musical experience of witnessing a brilliant live performance has a far greater capacity to move attendees and make the body tingle”. Furthermore, Earl (2001) lists some of the advantages of attending music shows such as curiosity fulfillment, experience of joy and entertainment as well as social interaction with like-minded individuals. While exploring the fan motives for attending Roxette gigs in South Africa, Kruger & Saayman (2012) provide evidence that nostalgia is a major factor in consumer decisions to purchase tickets for such entertainment occasions.

As previously outlined, experiential marketing consists of five major components – sense, feel, think, act and relate (Schmitt, 2000). Ju et al. (2016) argue that sense and feel are closely related to nostalgia as they stimulate consumers’ senses while encouraging them to travel back to past periods in their lives. In other words, such longing to go back in time can be satisfied through hedonic consumption while attending live music concerts might act as a trigger for memory recollection (Ju et al., 2016). Similarly, it can be claimed that by transporting individuals to earlier lifetime experiences, nostalgia is able to connect the present-day self with a much younger one – a notion that resonates with the concept of self-continuity. Bluck & Liao (2013) define the term as the consistent maintenance of self-identity over lifetime or in the words of Ju et al. (2016, p. 2066) – “the crucial self-function in autobiographical memory that allows humans to create and link remembered selves coherently over lived time”. In addition, the literature research has suggested that self-continuity can play a crucial role in the context of personal nostalgia by providing the individual consumer with an opportunity to be here-and-now while bonding with a long gone past (Ju et al., 2016).

The power of nostalgia to connect individuals, objects and events across time and space can also be examined in the context of the contemporary live music industry (Holak & Havlena, 1992). During the past decade, multiple influential artists and bands have resurrected long forgotten albums by taking them on the road – an action that corresponds with possible collective nostalgic yearning among fans across the globe. In 2013, the German electronic music pioneers Kraftwerk debuted their “The Catalogue 1-2-3-4-5-6-7-8” concept – a chronological exploration of the band’s entire discography that takes place throughout eight-day residency at carefully selected venues around the world (Tate, 2013). Similarly, in 2011 the British alternative rock band – The Cure, performed limited run of exclusive shows named “Reflections” aimed at showcasing the first three albums recorded by the collective (New York Times, 2011). The legendary Joy Division bass player – Peter Hook, on another hand, has been touring the world while performing old classics recorded by the band in the late 1970s (Observer, 2016). Last but not least, in early 2017 U2 announced an anniversary tour of their seminal 1986 album “The Joshua Tree” which sold 1.1 million concert tickets in a single day (Forbes, 2017). Undoubtedly, the factors behind the enormous success of such productions is an area that is limitedly researched, thus, would benefit from a further in-depth investigation.

2.5 Conclusion

This chapter presented the existing theoretical framework that forefronts the subsequent research process. The areas of hedonic consumption and nostalgia were initially reviewed separately before conducting an in-depth discussion on the bond between both. Although the two marketing phenomena have been investigated by numerous academics, there has been an evident literature gap on their relationship in the context of fan experiences during live music concerts.

Therefore, this project will aim to explore the hedonic consumption experiences of fans attending Depeche Mode concerts as well as the role that nostalgia might play in relation to those consumer activities. In the subsequent chapter, the methodology developed to address those objectives is presented.

Chapter 3: Methodology

3.1 Introduction

Most qualitative research studies emphasize their preference to treat theory as something that emerges out of the collected data (Bryman & Bell, 2011). Authors such as Morgan & Smircich (1980, p. 491) argue that “qualitative research is an approach rather than a particular set of techniques, and its appropriateness derives from the nature of the social phenomena to be explored”. Furthermore, Creswell (2007) discusses the critical role of the researcher throughout the entire process while outlining several common characteristics of each exploratory study including field-based interaction, inductive data analysis as well as interpretative inquiry.

Due to its limited duration and scope, this research takes the form of a microethnographic study which focuses on exploring a specific cultural group – the Depeche Mode fans, and their emotive experiences while watching the discussed band live (Creswell, 2007). Nornberger & Corson (1997, p. 187) argue that such approach is contextually suitable because it “offers a methodology for the investigation of face-to-face interaction and a particular point of view on language in use in complex modern societies”. In addition, by attending the concerts in person, the researcher was able to investigate the examined population in their natural habitat – an inevitable feature of each microethnographic study.

The following chapter provides a detailed explanation of all research methods intended to address the literature gap between hedonic consumption and nostalgia in relation to live music performances. Initially, the relevant research aims and objectives are presented in clear and structured form. Subsequently, the research philosophy is outlined which is then followed by an in-depth analysis of the research methods implemented throughout the study. In addition, information on the data analysis process is presented before concluding with all relevant ethical considerations as well as key research limitations.

3.2 Research Aims & Objectives

As previously discussed, the concepts of hedonic consumption and nostalgia have been extensively researched in various contexts, however, there has been an evident literature gap on the relation between both in regards to fan experiences during live music shows. Thus, this multi-method qualitative study will concentrate on exploring the hedonic consumption experiences of fans attending Depeche Mode concerts as well as the role that nostalgia might have in relation to such consumer activities.

In sum, the primary objectives of the undertaken research are as following:

• To explore fans’ hedonic consumption experiences of Depeche Mode live shows.
• To explore whether nostalgia plays a role in relation to fans’ experiences of Depeche Mode concerts.

3.3 Research Philosophy

Academics tend to distinguish between two major research paradigms which have influenced the development of marketing as an academic field – interpretivism and positivism (Kapoulas & Mitic, 2012). Bryman & Bell (2011) argue that interpretivism is based on Max Weber’s notion of Verstehen and aims to understand the complex nature of the surrounding world by emphasizing on observing, understanding and respecting all researched subjects. In other words, the aim of each interpretivist research is to decode the meanings of human behavior rather than to generalize (Hudson & Ozanne, 1988). The positivist ontology, on another hand, is defined as “an epistemological position that advocates the application of the methods of the natural sciences to the study of social reality and beyond (Bryman & Bell, 2011, p. 15; Carson et al., 2001). Furthermore, Creswell (1994) claims that the reality of the interpretivist paradigm is subjective as well as socially constructed while the one of the positivist paradigm is objective and singular. Thus, the framework selection will certainly affect the level of contribution researchers will achieve (Bryman & Bell, 2011).

It must be outlined that the epistemological nature of this dissertation belongs to the interpretivist paradigm, thus, the study will be build upon inductive reasoning – one in which all premises supply significant evidence for the truth of the conclusion (Copi et al., 2007). In other words, the principal aim of this exploratory study will be to understand individual experiences of Depeche Mode concertgoers from the point of view of each participant. Furthermore, it can be argued that the undertaken qualitative approach is contextually suitable due to its ability to facilitate depth of understanding via the aforementioned concept of inductive reasoning (Bryman & Bell, 2011; Hausmann, 2012).

3.4 Research Design

Bryman & Bell (2011) outline five different types of research design – experimental, cross-sectional, longitudinal, comparative and case study. Due to its detailed and intensive focus on a single case – the Depeche Mode fan community, this dissertation falls within the case study research design parameters (Stake, 1995). In other words, its main objective is to provide an in-depth elucidation of the examined population (Bryman & Bell, 2011).

This exploratory study has been conducted with the use of multi-method qualitative approach that consists of semi-structured interviews as well as participant observation – a decision that resonates with the theoretical concept of triangulation, the process of cross-checking findings (Deacon et al., 1998). It is argued that qualitative research offers “the possibility to tap into the sea of complex exchanges in marketing” and tends to be primarily concerned with words rather than numbers (Kapoulas & Mitic, 2012, p. 360). Thus, it is suitable for achieving an in-depth understanding of human behavior (Denzin & Lincoln, 2005).

Cova & Cova (2002b) argue that the two aforementioned ethnographic research methods – semi-structured interviews and participant observation, are recommended when user communities are to be investigated. Furthermore, Bryman & Bell (2011) maintain that by applying such techniques, the researcher can assess participants’ behavior and motivations as well as observe group members in their natural setting.

The data was collected across five Depeche Mode concerts that took place in May and June 2017 as part of the band’s Global Spirit Tour. The aim of all interviews was to gain an in-depth understanding of each participant’s point of view in regards to the research objectives. It must be outlined that large number of the conversations took place before or after the performances in order to benefit from their immersive aesthetics. Furthermore, note-taking during all gigs was applied via the usage of a mobile device – a decision aiming to transform the process into a discrete one.

The examined shows took place in Bratislava (Slovakia), Copenhagen (Denmark), London (United Kingdom), Frankfurt (Germany) as well as Berlin (Germany). It must be noted that majority of the interviews were conducted before or after the concerts in London (June 3^rd, 2017) and Berlin (June 22^nd, 2017) while field notes were taken throughout all performances.

3.4.1 Semi-structured Interviews

Ten semi-structured interviews were completed before or after the aforementioned events. Due to the in-depth nature of the selected technique and the length of each conversation, interviewees were contacted in advance in order to confirm their participation. Furthermore, when interviews were not possible on the date of the concert, they were scheduled for the day before or after.

Interview Design

Unlike structured interviews, the semi-structured ones provide each interviewee with a great deal of leeway reply-wise (Bryman & Bell, 2011). In other words, the adopted interview style is flexible while emphasizing on the participant’s point of view.

Throughout the entire data collection process, informal and natural conversations were encouraged. Initially, all interviewees were asked the same two questions: “Do you consider yourself a music fan?” as well as “What drives you to go and see bands live?”. The interviewer had a script with questions prepared beforehand (see Appendix 1), however, its order varied across each individual participant. All questions were created according to the outlined research objectives as well as the extended literature review. The interview design primarily consisted of open-ended questions in order to encourage participants to reflect on their contextual behaviours and motivations.

Last but not least, interviews varied in length from thirty to fifty-five minutes. Eight interviews were audio recorded while the remaining two were conducted via detailed note-taking as per participants’ will.

Sample Selection

The ten interviewees were contacted via email or asked in person whether they would agree to participate in the study. Everyone was presented with a brief background of the project and its corresponding general context. Additionally, six potential candidates were approached with an enquiry to take part, however, due to conflicting schedules interviews could not take place.

Purposive sampling technique was applied when selecting participants – a non-probability form of sampling in which the contributors are selected “because of their relevance to understanding a social phenomenon” (Bryman & Bell, 2011, p. 442). In addition, equal number of male and female individuals aged between twenty-five and fifty was chosen in order to minimize bias. Details on all participants can be found in Appendix 2.

As previously discussed, the majority of the interviews occurred before and after the Depeche Mode concerts at the Olympic Stadium (London, United Kingdom) as well as the Olympiastadion (Berlin, Germany). The decision to follow such practice was taken due to the large variety of potential participants present at the two cities. Moreover, those gigs were the largest in terms of attendance (Billboard, 2017).

Coding

Coding is a vital tool within the concept of grounded theory – a methodology that is “derived from data, systematically gathered and analyzed through the research process” (Strauss & Corbin, 1998, p. 12). Bryman & Bell (2011) define coding as the process of breaking down collected data into component parts which are, subsequently, given names.

In the context of this dissertation, all interview notes and audio recordings were transcribed before coding was appointed to outline common themes across all data collected (see Appendix 3). Additionally, a transcription sample of one semi-structured interview has been provided in Appendix 4.

3.4.2 Participant Observation

Participant observation is a popular method for data collection among the qualitative research specialists. Furthermore, it is a reliable tool that ethnographic researchers use when undertaking exploratory studies.

In the context of this dissertation, the researcher took the role of “complete observer” as passive and unobtrusive note-taking took place during the attended performances (Strauss & Corbin, 1998). Bryman & Bell (2011, p. 437) claim that in such position, the ethnographer “does not interact with people”, thus, “people do not have to take researcher into account”.

Sample Selection

Convenience sampling was used when selecting locations for participant observation inside the concert sites – a non-probability technique that is “simply available to the researcher by virtue of its accessibility” (Bryman & Bell, 2011, p. 190). It is important to outline that the observer was located in the same venue block at all concerts – Front of Stage / Golden Circle (see Figure 7), due to the expected presence of large number of dedicated and devoted fans within the chosen area.

Coding

Field notes were taken throughout each concert on a mobile device. Due to the nature of live music events as well as the standing factor, notes were short and concise. They included descriptions of pre-show occurrences, sensorial impressions as well as excerpts of overheard conversations. As previously discussed, Holbrook (1995) argues that an excellent live concert has a strong potential to immerse and move all attendees, thus, the usage of such research method was found to be contextually suitable.

A sample of the coded field notes taken during the performance in Copenhagen (May 31^st, 2017) has been provided in Appendix 5.

3.5 Data Analysis

Coding is a commonly used practice in the discipline of qualitative research. Charmaz (1983, p. 186) argues that such technique serves as a “shorthand device to label, separate, compile and organize data”. Bryman & Bell (2011), on another hand, claim that coding entails reviewing transcripts and field notes while providing various component parts with labels in order to derive salient conclusions from the examined data. Last but not least, based on their grounded theory approach, Strauss & Corbin (1990) distinguish between three types of coding practice – open, axial and selective.

During the entire process of data analysis, this dissertation implemented the practice of open coding – “the process of breaking down, examining, comparing, conceptualizing and categorizing data” (Strauss & Corbin, 1990, p. 61). Bryman & Bell (2011, p. 578) maintain that such technique “yields concepts, which are later to be grouped and turned into categories”. Therefore, all semi-structured interviews as well as field notes were transcribed and reviewed multiple times before outlining specific keywords that assisted in the subsequent coding of content into themes. It must be outlined that the developed coding scheme aimed to resonate with the overall research aims and objectives.

The aforementioned keywords and all corresponding notes have been attached in Appendices 3 & 5.

3.6 Ethical considerations

Discussions about ethical principles in business research revolve around multiple areas that include the degree of harm to participants, the level of privacy invasion, the potential lack of informed consent as well as the amount of deception involved (Bryman & Bell, 2011; Diener & Crandall, 1978).

In the context of this dissertation, it must be outlined that individuals of all ages attend live music concerts. However, all semi-structured interviews were conducted with adults. Each participant was given a declaration of informed consent to be signed before the interview process was initiated – a sample of the discussed document has been provided in Appendix 6. Furthermore, all interviewees were asked on recording whether they agree on being taped. As previously noted, eight participants provided such permission while another two asked the researcher to take handwritten notes instead. In addition, each individual was provided with a means of contact in case study withdrawal is requested.

The names of all interviewees were replaced with pseudonyms in order to protect their privacy. In a similar fashion, photographs obtained during participant observation that revealed individual faces were only used for personal reference and not added to the final field notes.

Last but not least, none of the participants was deceived prior to the interview process as the relevant project details were communicated in advance.

3.7 Limitations

Three major limitations of the discussed exploratory study must be outlined.

Firstly, a widely discussed challenge of each qualitative research lies within its potential subjectivity due to all difficulties in putting the extracted data into words (Kapoulas & Mitic, 2012). Black (2006) argues that compressing massive volumes of qualitative data into descriptive and engaging text is a complicated task for each researcher. In order to reduce such unfavorable influence, detailed information on all data collection methods as well as sampling techniques has been presented in this chapter.

Secondly, the interview sample only included dedicated and devoted fans who have visited multiple concerts of Depeche Mode throughout the years – a fact that can lead to sample error due to the exclusion of casual concertgoers. Moreover, a small sample size has been employed due to the limited time and resources available for this exploratory study.

Thirdly, certain individual responses might have been affected due to the overt presence of a professional recording device during the conversations. However, due to legal and privacy-related regulations, such occurrence could not be avoided.

In conclusion, it must be noted that despite the aforementioned limitations, all measures have been taken to ensure reliable and valid insights are drawn from the discussed exploratory research.

Chapter 4: Findings & Discussion

4.1 Introduction

The principal goal of this qualitative study was to address the literature gap in regards to attendees’ emotive experiences during music concerts. While collecting data through semi-structured interviews as well as participant observation, this multi-method research project focused its attention on exploring the hedonic consumption experiences of Depeche Mode fans.  All contributors were approached while the British electronic band was showcasing its latest live production on the road across Europe.

After all collected data was transcribed, coded and examined – three relevant themes emerged out of the analytical process. Hence, this section will explore the interviewees’ range of emotional responses to Depeche Mode live concerts, their spiritual connection with the band as well as the communal aspect of their fandom. Furthermore, the role of nostalgia in relation to fans’ experiences at musical gigs will be discussed in detail. Before concluding the chapter, two additional themes that emerged out of the gathered data will be briefly reviewed in order to potentially provide ideas for future research.

It must be noted that the presented analysis will be supported with corresponding quotes from the interviews and field notes.

4.2 Emotional Responses

As previously discussed, hedonic consumption implements those facets of consumer behavior “that relate to the multisensory, fantasy and emotive aspects of one’s experience with products” (Hirschman & Holbrook, 1982a, p. 92). Thus, a crucial component of such process is the degree to which consumed goods or events are pleasurable. Pine & Gilmore (1998) maintain that consumers tend to repeat or propagate only successful experiences, thus, each symbolic product or service must aim to satisfy its target population. In the context of all semi-structured interviews, participants strongly emphasized the emotive aspects of the attended performances.

For example, Nicole (P1) described her first-ever Depeche Mode gig in 1990 as “an intense but life-changing experience that completely blew me away”. On another hand, Jane (P4) recalled the first time she caught up with the band in 1988 at the Jones Beach Theatre in Wantagh (New York):

“This was my first real concert. I was fourteen years old and I could not realize that the band and myself will be in the same place for two hours … that we will breathe the same air. It was amazing to me, the highest high I had ever experienced. Depeche Mode were larger than life in my opinion – they were Gods.”

Similarly, Sven (P3) reviewed his memories of watching Depeche Mode for the first time by emphasizing on the absorbing and fascinating nature of the experience:

“The first Depeche Mode show I went to was back in 1998 during the Singles Tour. The concert took place at the Trade Fair Hall in Hannover and when they came on stage, I remember thinking “Oh my God, they exist for real”. Previously I had only seen them on TV. It was a mesmerizing experience.”

On another hand, Paolo (R9) described the importance of his initial encounter with his favourite band while reflecting on the experiences as a spectator:

“My first-ever live concert was when I saw Mode at the age of fifteen. I screamed, danced and cried for the entire show. I still get the shivers right now when I think back … this was a major life-changing moment for me.”

Furthermore, the emotive strength of attending such events resonates with the words of Christian (P7) who maintained that having “the authentic band so close to you while listening to your favourite tracks is a very emotional feeling” before adding “I still cry when I listen to certain songs live”. Last but not least, Maria (P10) emphasized on the emotive effect and influence that Depeche Mode gigs have on her while claiming that “when I see the band live and Dave starts singing, his vocals always send chills up my spine”.

The described statements all correspond with Snell et al. (1995) claim that emotional arousal often occurs as a response to hedonic consumption. In addition, authors such as Holbrook (1980) and Gursoy et al. (2006) argue that pursuing emotive stimulation is a major motivation for consumers to attend communal events such as musical performances. The aforementioned statement resonates with the opinions of several interviewees who claimed that “live performances are experiences that can never be replicated” (Jane, P4) because “the feelings each fan goes through during a show cannot be felt anywhere else … live music does something special” (Dean, P5).

The above-mentioned emotional benefits of attending Depeche Mode concerts echo Boorsma (2006, p. 79) statement who argues that arts consumption may be explained through the “pleasure, hedonistic fulfillment, emotional arousal and sensory stimulation experienced by the consumers”. In a similar manner, Lacher (1989) defines live music consumption as a purely hedonic one due to its emotive features – a statement which emphasizes its overall experiential nature.

As previously discussed, there are five major components of experiential marketing – sense, feel, think, act and relate (Schmitt, 2000). Majority of the interviewees’ responses primarily corresponded with the aspects of “sense” and “feel” in the context of live concerts. For example, Nicole (P1) claimed that “the response to listening to Depeche Mode live is more visceral than listening to their music at home” while Paolo (P9) compared going to Depeche Mode gigs with “going to church – a process that can help generate incredible feelings of warmth and joy that I cannot experience anywhere else”. Furthermore, the sensory aspects of each live performance resonated in the words of Dean (P5) who stated that “songs have different vibrancy when played live – at the concert, everyone is there to enjoy the experience and live it as it is happening”.

As noted earlier, Vila-Lopez & Rodriguez-Molina (2013) outline three experiential antecedents that compliment each live music event – surprise, participation and immersion. In addition, the authors argue that immersion is a crucial feature of such performances while emphasizing its ability to unlock a broad range of emotions in each individual (Vila-Lopez & Rodriguez-Molina, 2013). Several research participants listed the discussed antecedent as an important aspect of their experiences when seeing Depeche Mode live. For example, Nicole (P1) described her emotive behavior when watching the band as “very much in the moment, simply trying to immerse myself and enjoy every second of it”. Similarly, Sven (P3) emphasized on his tendency to “become fully immersed in the whole performance” while Christian (P7) talked about his regular practice to “go as front as possible, turn off my mobile phone and fully immerse into the performance”. Authors such as Kao et al. (2007) argue that successful immersion can lead to stronger emphasis on the entire consumption process rather than its final results. In other words, the individuals can disconnect from the outer world – a statement that resonates with Erica’s (P2) claim:

“During a live concert, I lose track of time. When you are at the front row, you are simply face to face with the band … no distance at all. It feels like your own show.”

As discussed earlier, academics such as Havlena & Holbrook (1986) argue that music can act as a “mental massage” while Lacher (1989) emphasizes the important role that arts consumption can play in stimulating consumers both cognitively as well as emotionally. Additionally, Pine & Gilmore (1999) outline four realms of each event experience – entertainment, education, aesthetic and escapist. The authors argue that while entertainment and education involve absorption of sensory stimuli, the aesthetic and escapist aspects encompass active or passive immersion into the overall experience (Petkus, 2004). The following statement by Erica (P2) encapsulates the absorbing nature of live music events and their emotive influence on each concertgoer:

“I always try to be at the front row – it is something that I pursue at any cost. Sometimes, it takes a lot of effort such as endless wait outside the venue or even camping outdoors from the day before. However, in the end it is all worth it. When I saw the band in Budapest and Dave Gahan looked at me for the first time, I immediately started to cry. We made an eye contact for the first time but I had never thought I would react in such way. His smile just changed everything. This is the magic of the live concerts, the reason why we all go to more than one show.”

It can be argued that concerts also play an important role in the process of event authentication. Auslander (1998, p. 12) claim that “the importance of live performances lies precisely in the fact that it is only here that one can see the actual audio and visual production as well as the emotional work carried in the voice”. Several interviewees and observees reflected on the crucial role of music gigs in relation to attendees’ perception of authenticity. While Luiz (P6) claimed that “in order to really see the band as they are, one must go and see them live”, Dean (P5) argued that “the best and most authentic way to experience music is to hear it live”. In addition, two observees at the Depeche Mode concert in Copenhagen (Denmark) discussed the benefits of seeing the band “in the flesh” as opposed to listening to records at home while claiming that “there is nothing better that having your heroes singing for you just few meters away” (Field Notes, Copenhagen May 31^st).

4.3 Connection & Community

As discussed earlier, Lacher & Mizerski (1994) outline several responses that may constitute a music consumption experience including sensorial, imaginal, analytical, affective and experiential. The authors argue that the hedonic consumption paradigm supports the direct relationship between the aforementioned constructs and the consequent desire to re-experience the music itself (Lacher & Mizerski, 1994). In other words, if music is primarily consumed due to its emotive aspects, then its consumption frequency would also be affected.

In the context of live performances, several interviewees declared the established magnetism of following Depeche Mode on the road while outlining its addictive nature. While Erica (P2) claimed that “Depeche Mode is a religion and watching them live is a lifestyle, an addiction”, Paolo (P9) described seeing the band in concert as “a drug that I cannot get enough of, with an urge to keep experiencing it over and over again”. Similarly, Sven (P3) revealed that he “was about to see a doctor to treat that addiction I call compulsive tour devotion” before adding that “there is no other band that kicks me as Depeche Mode do, I just do not have the same connection with anything else”. Furthermore, Maria (P10) emphasized the enthralling nature of the discussed live performances with the following statement:

“Being a Depeche Mode fan is an addiction. We are like junkies, always looking for more and more. Always chasing that special feeling that got us hooked at first. Even though I have seen the band seventeen times live, I cannot stop following them on tour – it is a never-ending passion.”

The aforementioned statements resonate with Lacher & Mizerski (1994, p. 370) assertion that “the ability of music to create an absorbing experience would be a primary factor in creating the need to re-experience it”. Similarly, Van Boven & Gilovich (2003) argue that despite their ephemeral nature, the core function of the discussed musical events is to provide great amount of happiness to all attendees – a statement that resonates with Sven’s (P3) claim:

“During all Depeche Mode shows I have been to, I have sensed some kind of spiritual connection between fans and the band. I see those performances as an exchange, a highly spiritualized experience.”

Authors such as Caldwell (2001) and Earl (2001) emphasize the communal aspect of live concerts and their ability to bring like-minded individuals together. In addition, it can be argued that fans attending musical performances “use this kind of consumption to define themselves as part of a collective” (Kerrigan et al., 2007, p. 8; Gainer, 1995). Elliot & Wattanasuwan (1998), on another hand, claim that the music style each individual aspires to would reveal certain part of their identity as well as shape their ideal and social selves. In other words, the lived experiences would have greater value for each consumer in comparison to the mediated ones (Kerrigan et al., 2007).

Several interviewees listed the communal aspect of the Depeche Mode live concerts as a major reason to attend such gatherings. While Nicole (P1) claimed that “one of the things that make a gig special is the audience – all those people around you who sing their lungs out”, Jane (P4) explained that “to be a Depeche Mode fan is to be part of a community that is far bigger than you – for a short period of time you become part of something that is extremely powerful”. Similarly, Dean (P5) emphasized the communal side of each attended performance with the following statement:

“There is a massive feeling of community at these concerts. Nowadays, you tend to bump into friends much more often than back in the days. It is a huge Depeche Mode fan army that moves from one show to another. During the gigs, you get to celebrate the songs with bunch of other people – an activity that brings everybody together as one.”

In addition, Luiz (P6) discussed the social appeal of such large-scale events due to the process of sharing “the experience with other fans – something that makes it more magical and elevates you to a higher place”. The previously mentioned statements support the argument that being part of a collective, a sacred community, is a major motivation for consumers to pursue the intangible experiences of such social gatherings.

In contrast, Alba & Williams (2012, p. 11) claim that “because hedonic consumption is often costly to one’s health and well-being (and one’s bank account), consumers must often trade off their desire for pleasure with its consequences”. In other words, users might often be myopically drawn to certain wants and vices at the expense of their longer-term welfare (Alba & Williams, 2012; Wertenbroch, 2003). The aforementioned assertions resonate with the following statement by Paolo (P9):

“I have to be honest that sometimes I ask myself – is it all really worth it? I remember how angry my wife was when in 2013, I secretly bought tickets for seven shows using our family savings. The temptation was just too strong and I gave in. I was lucky she did not divorce me upon finding out. Attending Depeche Mode concerts is a passion that can sometimes be self-destructive if you do not reflect soberly”.

The shared excerpt echoes with Rogers & Bazerman (2007) claim that hedonic products tend to offer short-term pleasure and reality escape while relying on momentarily urges which decrease self-control, thus, leading consumers to myopic behavior as well as price-insensitivity. However, multiple interviewees maintained their determination and willingness to continue following the band on the road while asserting that “the overall pleasure I obtain from these events is priceless” (Maria, P10) as well as “there is nothing else that moves me in such magical way” (Sven, P3).

4.4 Nostalgia

It can be argued that certain pieces of music tend to intertwine with specific episodes throughout an individual lifetime (Janata et al., 2007). Authors such as Belfi et al. (2015) claim that songs frequently remind listeners of people, places and experiences from their own past. Similarly, Barret et al. (2010) state that music-evoked autobiographical memories are primarily associated with feelings of happiness, excitement and nostalgia. Holbrook & Schindler (1989), on another hand, argue that there is a peak phase in each individual’s past for memories triggered by nostalgia while Ju et al. (2016, p. 2067) assert that “real biographical identity begins to emerge in adolescence and is salient in young adulthood”. 

The concept of nostalgia and its role in relation to interviewees’ concert experiences was discussed by majority of the participants. For example, Luiz (P6) talked about his main stimuli for watching the band in 2017:

“What motivates me to see Depeche Mode nowadays is nostalgia. Every time I see them I feel like I am seventeen again – a Depeche Mode live performance is a fountain of youth. There has always been a song associated with each stage of my life. Every time I hear some tracks during the gig, they all bring memories – both sad and happy.”

Similarly, Sven (P3) shared his recollections of a concert he attended in Antwerp (Belgium) where “the crowd just killed it, I felt like fifteen again” – a claim that resonates with Nicole’s (P1) statement that “all Depeche Mode concerts act as reminiscences of beautiful periods in my life”. The aforementioned interview excerpts correspond with Frith (1996, p. 49) assertion that “memories can dance with the music too” while being further supported by Derbaix & Derbaix (2010, p. 59) argument that “to speak of nostalgia is to acknowledge that we need warm memories of our past”.

During the participant observation process, a female concert attendant in her forties discussed that “some of their songs are the emotional landscape of my life” while her companion added “I remember listening to Enjoy The Silence back in my high school dorm, it brings so many memories when I hear it live” (Field Notes, Copenhagen May 31^st). In a similar manner, Deb (P8) shared her concert experience of watching Depeche Mode at the sold out Olympiastadion in the German capital – Berlin:

“I remember that at some point during the show, I just looked around and saw all those people waving their hands. It really struck a chord. I was there from the beginning, created the first Depeche Mode fan club in Basildon and to realize how far everything has gone was a special feeling. Their older tunes take me back to specific moments of my youth.”

The emotive aspect of such thoughts resonates with Bambauer-Sachse & Gierl (2009, p. 391) claim that “consumers cannot return to the past, but they can try to preserve it through nostalgic consumption activities”. In other words, nostalgia can often be part of users’ consumption experiences, thus, a deliberate choice (Goulding, 2001).

It must be outlined that the degree of nostalgia proneness varied across the pool of participants. While interviewees such as Dean (P5), Luiz (P6) and Christian (P7) sympathized with the idea of live concerts as tools for spiritual journey back in time, others did not show such tendency. For example, Sven (P3) shared his thoughts on the matter by saying:

“I, myself, do not understand the concept of living backwards or to assume that the older times were necessarily better. I am just not like that.”

Similarly, Maria (P10) argued that “many people live with the illusion for an utopian past where everything was essentially better and more genuine than the contemporary world, I think this is a big misconception”. On another hand, Dean (P5) confessed that “if I could go back in time, I would love to see the 1990 World Violation Tour again and again” while Erica (P2) offered a reason and explanation for the popularity of nostalgia in the contemporary music world:

“We definitely see a nostalgia boom in recent years. In terms of music and live performances, it is possible that the fans who followed all those influential bands back in the days are simply not satisfied with the contemporary musical output. Therefore, they are interested in attending concerts by all those artists who have created timeless music – one that will outlive all of us.”

Additionally, several interviewees commented on the increasing number of nostalgia-related concert tours by established artists such as Kraftwerk, U2, The Cure and Peter Hook. While Sven (P3) discussed that “it seems the eighties and nineties are coming back, we all see this nostalgia boom”, Luiz (P6) advocated such productions because “these gigs are an opportunity for some fans to see bands that were not touring their countries back in the days – when U2 visit Colombia soon, it will be 1987 all over again for us”. Dean (P5), on another hand, confessed that “even though, I am not a huge of those nostalgia tours, I will be going to see U2 performing The Joshua Tree in Dublin later this year”. Similarly, Maria (P10) talked about her mixed feelings in regards to the concept:

“On one hand, I think all those comeback tours that we see are a way for bands to simply cash-in by relying on consumers’ nostalgia proneness. However, I also understand why fans would be attracted to such concepts and I do not think they affect the industry in a negative way. For example, I went to see Kraftwerk last year who played “Computer World” in entirety – an album that was released before I was born. I personally would love to see Depeche Mode doing something similar with older albums such as Music For The Masses or Violator but at the moment, I do not think that Depeche Mode are a nostalgia act – quite the opposite in fact.”

The aforementioned statements showcase the differences in interviewees’ perceptions of nostalgia and its role in relation to their consumption experiences at Depeche Mode concerts. While several participants admitted that the concept played a significant role as an emotive trigger, others asserted that they prefer to “live for the moment, here and now” (Paolo, P9) – contrasting views that resonate with Holbrook (1993) theory that individuals differ in their tendency to experience nostalgia.

4.5 Fan Rituals & Possessions

It must be noted that two additional common themes emerged out of the collected data. Due to their indirect correlation with the present exploratory study, their nature will be analyzed in brief detail.

Firstly, several interviewees discussed the importance of specific fan rituals that accompany each Depeche Mode performance they attend. Gainer (1995, p. 253) defines ritual as “a diverse range of human behavior covering a continuum from the intensely personal and private to the extremely elaborate and public”. While Christian (P7) declared that “I always eat a very good lunch before the concert so I have a lot of energy for the day”, Nicole (P1) went to a greater length by sharing the following statement:

“As I usually buy front of stage tickets for Depeche Mode concerts, I begin to prepare for the standing factor few days in advance. Initially, I would look after my diet and drinking habits, think of what I should eat and drink during the day. Additionally, I put together a Spotify playlist with all tracks they will perform so I get myself into the right mood. Lastly, I always plan on what exact time is best to get to the venue in order to end up as front as possible.”

The aforementioned claim by Nicole (P1) resonates with the accounts of Erica (P2) and Sven (P3) who both asserted that arriving early at the venue is a crucial aspect of their concert experience. The discussed area of consumption rituals suggests that such practices can contribute to the symbolic establishment of one’s self in relation to communal events such as live gigs, however, further topical research might benefit the contextual academic understanding  (Errington, 1990; Gainer, 1995).

Secondly, multiple interviewees discussed their emotional attachment to possessions associated with their favourite band. While Erica (P2) confessed that she has framed her picture with Dave Gahan, Dean (P5) fondly shared his affection towards two specific Depeche Mode-related objects:

“The favourite item from my Depeche Mode collection is definitely the yellow coloured Enjoy The Silence vinyl which I bought in 1990 while on holiday with my parents. It has become a sacred object that brings so many memories. Another item I treasure a lot is the ticket from my first Depeche Mode concert which took place at the Crystal Palace National Sports Center – it holds a special place in my memorabilia collection. I do keep all band-related possessions in fireproof boxes so if our house burns down, it will be my wife, the collection and myself that will survive.”

The presented statements resonate with Belk (1990, p. 670) claim that “objects of the past are often intentionally acquired and retained in order to remember pleasant or momentous times”. In other words, individuals can develop an intense attachment with specific items that act as bridges to their real identity, a connection to their authentic selves.

In sum, it can be argued that the reviewed themes can benefit of further research in the context of music fandom and live performances. Although multiple academics such as Belk (1990), Gainer (1995) and Errington (1990) have presented related findings and theories, there is an evident literature gap in connection to the discussed industry setting.

4.6 Summary

In order to address the absence of relevant literature in regards to attendees’ consumption experiences of live music events, the British collective Depeche Mode and its fan community were considered as a case study. The corresponding data was gathered through qualitative research methods such as semi-structured interviews as well as participant observation. This chapter presented the three key themes that emerged out of the conducted analytical process.

Firstly, the wide range of emotional responses that accompany each Depeche Mode concert was presented and explored in-depth. Multiple interviewees discussed at length the experiential intensity of watching their favourite band live as well as the vast array of feelings they go through at each show.

Secondly, the strength of participants’ emotional connection with the band and the addictive nature of attending live performances were discussed in detail. Additionally, the communal aspect of Depeche Mode gigs and their ability to bring likeminded individuals together were examined while relying on data collected throughout the research process.

Thirdly, the role that nostalgia plays in relation to fans’ experiences of Depeche Mode concerts was discussed extensively. While several interviewees mentioned the concept as a primary motive in attending such events, others opposed by championing the preference to “live for the moment, here and now” (Paolo, P9).

Last but not least, two additional themes that emerged from the collected data were presented in brief manner – the intimate fan connection with band-related possessions as well as the specific rituals that surround the attendance of Depeche Mode concerts. However, due to their indirect relationship with the present study, the areas were not discussed in depth.

Chapter 5: Conclusion

5.1 Introduction

This qualitative exploratory study aimed to investigate the wide range of emotional responses that individuals experience while attending Depeche Mode concerts. In addition, the potential role of nostalgia in relation to the discussed events was extensively examined. Due to its long-term commercial presence as well as devoted following, the influential British band and its fan community were selected as a case study for this project.

This chapter will initially review the key findings that emerged out of the exploratory process as well as their contributions to the marketing theory. Then, the relevant managerial implications will be discussed before concluding with multiple recommendations for future research. 

5.2 Key Findings & Contributions to the Marketing Theory

The primary motive for carrying out this multi-method research project was to provide a better understanding of fans’ emotional experiences at live music concerts. After conducting ten semi-structured interviews as well as attending five Depeche Mode concerts in order to observe participants, three relevant themes were drawn. The corresponding findings are presented below with direct reference to the research objectives outlined at the beginning of this dissertation.

Objective 1: To explore fans’ hedonic consumption experiences of Depeche Mode live shows.

During all semi-structured interviews, participants emphasized the alluring appeal of each attended performance. Additionally, the interviewees discussed the vast array of emotive reactions they go through while watching Depeche Mode in concert – a notion that resonates with the relevant academic literature on hedonic consumption (Hirschman & Holbrook, 1982a; Snell et al., 1995; Pine & Gilmore, 1998).

The conducted research showcased the immersive nature of live music events, their emotive intensity as well as the wide spectrum of all corresponding sensorial responses. While several candidates described their initial concert encounters with Depeche Mode as life-changing experiences, others went even further by declaring that such occurrences are the “highest high I had ever experienced” (Jane, P4) – statements which echo Holbrook (1980) and Gursoy et al. (2006) theories that consumers attend entertainment events in order to pursue emotive stimulation.

In the context of Depeche Mode performances, multiple participants discussed the magnetic nature of following the band on the road while acknowledging the addictive side of the process. The fascinating appeal of such consumption activities resonates with the notion that live music has the power to absorb individuals while creating a consequent need for re-experiencing (Lacher & Mizerski, 1994; Van Boven & Gilovich, 2003).

Additionally, the communal aspect of such social gatherings as well as their ability to bring likeminded people together were considered throughout the interview process. Several participants mentioned the discussed sense of community as a primary motivation to attend Depeche Mode concerts – a claim that echoes academic studies by authors such as Gainer (1995) and Kerrigan et al. (2007). 

Objective 2: To explore whether nostalgia plays a role in relation to fans’ experiences of Depeche Mode concerts.

The role of nostalgia in relation to fans’ consumption experiences of Depeche Mode concerts was discussed by majority of the participants. Multiple interviewees stated that hearing specific songs live assisted in evoking autobiographical memories as well as the associated emotive reactions. In addition, several contributors talked extensively about their long-term connection with the band and the unique opportunity to mentally relive moments of their youth while seeing Depeche Mode in concert. In other words, live music acted as a nostalgic stimulus during the discussed episodes (Barret et al., 2010; Janata et al., 2007; Reisentwitz et al., 2014).

It must be outlined that while several interviewees listed nostalgia as a primary motive to see Depeche Mode live, others championed the preference “to treasure the present as it happens” (Maria, P10). The varying level of importance that nostalgia played in relation to attendees’ concert experiences corroborates with Holbrook (1993) theory that individuals differ in their tendency to be nostalgia prone.

Additionally, the recent emergence of nostalgia-related music tours was also discussed in detail. Multiple interviewees stated that such productions appeal to wide spectrum of consumers due to their fascinating and fantasy-fuelled nature – a notion that corresponds with Holbrook (1990) claim that nostalgia marketing is capable to transform yesterday into an attractive trend among consumers. The participants, however, seemed to be divided in terms of their personal approval in regards to such nostalgia-driven experiential offerings.

The findings discussed in this section contribute to the existing marketing theory by providing consumer-related insights in regards to the communal aspect of music performances, their absorbing appeal and the contextual role of nostalgia. Therefore, they might prove useful for marketers in the process of understanding individual motivations for attending concerts as well as the creation of successful campaigns targeted at such consumers.

5.3 Managerial Implications

The emotive aspect of live music performances as well as the fans’ motivations to attend such events have been two areas with limited academic research. Hence, this exploratory study could benefit the industry professionals by providing valuable insights into the consumption behavior of individuals who engage in such activities.

Firstly, this multi-method qualitative project has revealed that devoted music fans are willing to attend multiple concerts in order to support their favourite artists while sharing memorable moments with other likeminded individuals. Thus, event organizers can benefit by focusing on this specific population as their primary target market – an action that would transform such lucrative consumers into powerful influencers in the eyes of the casual fans.

Secondly, the discussed alluring and immersive aspects of live music performances can encourage marketing managers to pursue a continuous improvement of their experience-oriented brand strategies. In other words, pleasant and notable moments must constantly be sought in the context of the entertainment industry – a process that can contribute to establishing and maintaining emotional relationships with consumers.

Last but not least, marketing professionals must be cautious when engaging in nostalgia-driven advertising campaigns due to the differing tendencies of individuals to resonate with such approach. This study has shown that nostalgia can play a specific role in relation to individual decisions to attend music performances, however, thorough research of the primary offering as well as its target population must be carried out before taking advantage of the discussed strategy.

5.4 Recommendations for Future Research

An exploratory microethnographic study, this research has contributed to the evident literature gap in relation to fans’ consumption experiences during live music concerts. Bryman & Bell (2011) argue that qualitative analysis is capable of laying the foundation for future quantitative studies. Thus, the key findings outlined in this dissertation can be applied in broader industrial context while taking advantage of quantitative methods such as surveys or questionnaires.

Additionally, a similar exploratory research can be conducted among various types of audiences. By including casual and recreational fans within the participant pool, diverse and wider spectrum of insights can be obtained. Thus, reliable approaches for segmenting consumers who attend such events can be outlined – a contribution that can provide opportunities for efficient targeting of these individuals.

The concept of nostalgia and its cross-cultural variations is another area which can benefit from future research. Authors such as Davis (1979), Belk (1990) and Holbrook (1993) have all analyzed the concept and its industrial implications, however, there are no studies in regards to how individual nostalgia proneness differs across countries and cultures.

Last but not least, the previously outlined themes of fan rituals and personal emotive attachment to band-related possessions can both gain from additional exploration. Although not directly linked to the objectives of this dissertation, the two areas are crucial for understanding the alluring phenomena of fandom and its devotional aspects.

— The End —

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