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concertgoer

Definition of concertgoer

Examples of concertgoer in a sentence.

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'concertgoer.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

1828, in the meaning defined above

Dictionary Entries Near concertgoer

Concert Flute

concert grand

Cite this Entry

“Concertgoer.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/concertgoer. Accessed 21 Apr. 2024.

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English [ edit ]

Noun [ edit ].

plural of tour-goer

English non-lemma forms
English noun forms

tour-goers ( English)

Plural of tour-goer

This is the meaning of tour-goer :

tour-goer ( English)

Origin & history.

Alternative form of tourgoer
2007 , Dianna Avena, Roswell: History, Haunts and Legends , ISBN 159629308X, page 38: " This tour-goer stopped everyone in their tracks when she told of seeing a family in the attic window many times prior to this particular night. "

▾ Dictionary entries

Entries where "tour-goers" occurs:

tourgoers : see also tour-goers ‎ tourgoers (English) Noun tourgoers Plural of tourgoer

tour-goer : see also tourgoer‎ tour-goer (English) Origin & history tour + -goer Noun tour-goer (pl. tour-goers ) Alternative form of tourgoer 2007, Dianna Avena, Roswell: History, Haunts…

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Mastering Tour Guide English: Essential Phrases and Examples

LLS English
November 1, 2023
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Are you a non-native English speaking tour guide looking to improve your language skills and provide a better experience for your guests? Look no further! Mastering tour guide English is essential for effectively communicating with tourists from all over the world. Whether you are giving a walking tour, leading a bus excursion, or guiding a group through a museum, having a strong command of the English language will make your job easier and enhance the overall experience for your tour goers.

In this blog post, we will provide you with essential phrases and examples to help you become a confident and proficient English-speaking tour guide.

Tour Guide English: Learn Laugh Speak Helps

Learn Laugh Speak is the perfect solution for busy professionals who want to improve their English language skills. Our program offers 12 levels, from Pre A1 to C2, allowing learners to progress at their own pace.

Whether you are a non-native English speaking tour guide or any other professional looking to enhance your language abilities, our comprehensive curriculum covers reading, writing, speaking, and listening skills.

With 33,000 exercises and resources, Learn Laugh Speak provides a structured and effective learning experience. We understand that as a busy professional, time is limited. That’s why our program is designed to be flexible and convenient, allowing you to study whenever and wherever it’s most convenient for you.

By choosing Learn Laugh Speak, you’ll have access to interactive lessons, engaging activities, and personalized feedback to help you progress and build confidence in your English speaking abilities. Our experienced instructors are here to support you every step of the way, ensuring that you receive the guidance and assistance you need to succeed.

So, whether you’re a tour guide in Mexico or any other professional looking to improve your English, choose Learn Laugh Speak as your trusted learning partner. With our proven methodology and dedication to your success, you’ll be well on your way to mastering English and providing an even better experience for your tour goers.

How to Describe a Person’s Personality in English

Mastering the Basics: Essential English Phrases for Greetings and Introductions

Welcome to the first section of our blog post, where we will guide you through the essential English phrases for greetings and introductions. As a tour guide, making a good first impression is crucial, and having a strong command of English will help you achieve that. Try these tips to improve your tour guide English!

When greeting your tour goers, a simple “Hello, welcome to our tour!” goes a long way in setting a positive tone. You can also add a personal touch by asking questions like “Where are you from?” or “Is this your first time visiting?” This shows genuine interest and makes your guests feel valued.

When introducing yourself , use phrases like “My name is [your name] and I’ll be your tour guide today.” Be sure to speak slowly and clearly, especially if English is not your first language. It’s also helpful to provide some background information about yourself, such as your experience and expertise in the area.

Remember to maintain a friendly and approachable demeanor throughout the tour. This includes using phrases like “How can I assist you?” or “Please don’t hesitate to ask any questions.” This encourages your guests to engage with you and ensures they have a positive experience.

By mastering these basic English phrases for greetings and introductions, you’ll create a welcoming atmosphere for your tour goers and make a lasting impression. So let’s dive in and take your tour guide English to the next level!

Essential English Tourism Vocabulary

Make Progress With Your English Today Easily & Correctly A1 to C2

Explaining It All: Key English Terms for Describing Points of Interest

When guiding a tour, it’s essential to be able to effectively describe the points of interest to your guests. This section will provide you with key English terms to help you explain and highlight the significance of various attractions.

One important phrase to remember is “This is…” or “Here we have…” as an introduction to each point of interest. This helps direct your guests’ attention and prepares them for the information you’re about to share.

Additionally, use adjectives like “impressive,” “beautiful,” or “historical” to describe the attractions, making them even more enticing.

To provide more detailed information, you can use phrases such as “This monument was built in [year] to commemorate…” or “This building is known for its stunning architecture, particularly the…” These phrases help paint a vivid picture in your guests’ minds, making the experience more immersive and informative.

It’s also beneficial to use terms like “landmark,” “iconic,” or “symbolic” to emphasize the importance and cultural significance of the attractions. This allows your guests to appreciate the value and historical context of each location.

By incorporating these key English terms into your descriptions, you will enhance your guests’ understanding and appreciation of the attractions. Remember to speak clearly and confidently, ensuring your guests feel engaged and informed throughout the tour.

A Effective Guide on How to Learn Idioms

Troubleshooting with Confidence: Handling Issues and Complaints in English

Being able to handle issues and complaints with confidence is an essential skill for any tour guide. In this section, we will provide you with useful phrases and strategies to help you troubleshoot and resolve any problems that may arise during your tours.

When dealing with complaints , it’s important to remain calm and empathetic. Start by actively listening to the guest’s concerns and acknowledging their feelings. Use phrases like “I understand how frustrating that must be” or “I apologize for the inconvenience caused.” This shows that you are attentive and genuinely care about their experience.

Next, try to find a solution that addresses their complaint. Offer alternatives or options that can help resolve the issue. For example, if a guest is unhappy with the itinerary, you can suggest alternative attractions or activities to accommodate their preferences.

If the issue cannot be immediately resolved, assure the guest that you will follow up and take necessary action. This can include contacting management or offering compensation if appropriate. Throughout the conversation, maintain a positive and professional tone. Remember that your goal is to provide excellent customer service and ensure that your guests have a memorable experience.

By using these phrases and strategies, you can confidently handle issues and complaints in English, showing your guests that you are dedicated to providing exceptional service.

Learning English Can Also Improve Your Confidence & Self-Esteem.

Engaging Your Tour Group with Fluent English Dialogue

Engaging in fluent English dialogue is an essential skill for tour guides, as it allows you to connect with your tour group on a deeper level and create a more immersive experience. Here are some conversational tips to help you engage your tour group with confidence and flair.

Firstly, encourage interaction by asking open-ended questions that stimulate conversation. For example, you can ask, “What aspects of this attraction are most interesting to you?” or “Has anyone had a similar experience in their own country?” This not only fosters engagement but also creates an opportunity for your guests to share their perspectives and experiences.

Additionally, be an active listener and show genuine interest in what your guests have to say. This can be achieved by maintaining eye contact, nodding to show understanding, and responding with thoughtful follow-up questions or comments. This demonstrates that you value their input and makes them feel heard and appreciated.

Furthermore, utilize storytelling techniques to bring the history and culture of the attractions to life. Use descriptive language and vivid imagery to paint a picture in your guests’ minds. Incorporate anecdotes and interesting facts to captivate their attention and make the information more memorable.

Lastly, create a comfortable and inclusive environment where everyone feels welcome to participate. Be mindful of any language barriers and adjust your speech accordingly. Speak clearly and at a moderate pace, and offer clarifications or explanations when needed. This ensures that everyone can fully engage in the conversation and enjoy the tour experience.

By implementing these conversational tips, you can foster meaningful dialogue and create a memorable tour experience for your guests. So, let your English skills shine and engage your tour group with confidence and flair.

English Vocabulary for Tour Guides

English Should Be Is Easy to Learn & Not A Mystery For Students To Solve

Improving Your Tour Guide English Day by Day

As a non-native English speaking tour guide, improving your language skills is an ongoing process that takes time and practice. The key to becoming a confident and proficient English-speaking tour guide is to make consistent efforts to enhance your skills day by day.

One of the best ways to improve your tour guide English is to immerse yourself in the language. Listen to English podcasts, watch English-speaking tour guides in action, and engage in conversations with native English speakers whenever possible. This exposure will help you become more familiar with the language and build your vocabulary.

Additionally, practicing your English with fellow tour guides or language exchange partners can be extremely beneficial. Set aside dedicated time each day to speak and listen to English. Focus on areas that you feel less confident in, such as pronunciation or using complex sentence structures.

Use Learn Laugh Speak to help you improve your tour guide English. Learn Laugh Speak provides a full learning platform that helps students learn English at the exact level specific for them.

Lastly, remember that mistakes are part of the learning process. Don’t be afraid to make them and learn from them. Embrace opportunities to practice your English and don’t shy away from challenging yourself.

Improving your tour guide English day by day requires commitment and dedication. By implementing these tips and consistently practicing, you will gradually become more confident in your language skills and provide an even better experience for your tour goers. So keep learning, keep practicing, and enjoy the journey of mastering English for tour guiding!

Still have some questions regarding tour guide English? Contact our teachers on the website chat below!

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Post-Pandemic and Beyond: Looking Ahead to the Future of Live Concerts

By Victoria Kennedy

Victoria Kennedy

Classic rock and roll means being authentically who you are, flipping the bird to “the man,” and, more often than not, looking like a rebel. Tattoos and black leather, silver studs and red cherries, and liquor and guitars — that’s what rock stars are made of. If you’re part of this flock, the pandemic likely got you raring to get back out to live music events. But with a lot of talk of a potential recession looming , musicians and concert-goers are wondering what the future holds.

Fans are the glue that holds the careers of their favorite musicians together, and as 2022 melts into 2023, the climate of uncertainty begs the question: How can we all keep the electricity of live events alive? This thought exercise serves as a general guideline for concert-goers and performers alike in the face of uncertainty.

Perform Like There’s No Tomorrow, Today

With our future being as unpredictable as March 2020, I encourage musicians to perform now and cautiously take advantage of the freedom the world is celebrating today.

Europe has been a wonderful inspiration to watch during this time of musical rebirth. This summer was a glorious free-for-all in the live music space, from private classical concerts at spacious villas to stadium-filled all-out bonanzas.

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However, I’m realistic — not everyone’s wallets are safe during a recession. With experts in the crypto and stock markets still in debate about whether we could be in a bull or a bear market, live concerts could be the first thing to go. Somewhat ironically, we can take inspiration from the pandemic to keep the passionate sharing of music and musical talents alive.

The Rolling Stone Culture Council is an invitation-only community for Influencers, Innovators and Creatives. Do I qualify?

Metaverse Concerts

Companies such as Fortnite and Roblox, among plenty more, have been jumping on the trend of throwing concerts in the metaverse , with big names such as the Chainsmokers, Young Thug and David Guetta having graced the digital stages. The 2022 MTV Music Awards even had a Best Metaverse Performance category this year, with Blackpink winning the award .

In fact, these events could serve as a healthy fighting response to a potential recession, with options for gamers to earn concert tickets or digital currencies to buy said tickets and collectible merch-NFTs once inside the concert venues.

Streaming Festivals

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This marriage between free and paid events is what held musician spirits high during lockdown and might serve the same purpose during a potential recession.

Stitching Talents

Of course, TikTok must be mentioned. With options to stitch and collaborate endlessly on each others’ videos, it is no wonder that amateur musicians have created amazing works of art together on the platform.

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In closing, we simply don’t know what the future will hold. To the musicians we know and love: Perform as much as you can because we cannot know for sure what is coming. Expand your reach through the digital space, explore your options and enjoy living in an age where so much is possible — where you can reach the ears of billions. History has shown us that talented creatives can survive and even thrive during these times. Do not be afraid of the future: Embrace the technology at your disposal; create a stable career for your coming years.

Whether you are a religious concert-goer, a once-a-year orchestra attendee or the main attraction for millions of fans, rest assured your musical community will keep itself alive with your help. They always have, and they always will.

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The Who Returns To Cincinnati 40 Years After Concert Tragedy

Tana Weingartner

Forty years ago, 11 concert-goers were killed in a stampede to see The Who in Cincinnati. The group just announced it will return to play another concert there all these years later.

AUDIE CORNISH, HOST:

Forty years ago today, Cincinnati and much of the country was trying to figure out how a concert by The Who became a tragedy. Eleven people were killed during a crush to get into the arena where the group was performing. The band hasn't played Cincinnati since. That's about to change.

(SOUNDBITE OF ARCHIVED RECORDING)

PETER TOWNSHEND: So what I want to say is that we'll be there. And having said that, now, we'll just have to come.

CORNISH: That's The Who's Peter Townshend telling WCPO-TV that his band is finally returning to the Cincinnati area. Tana Weingartner of member station WVXU reports on how the city is reacting to the news.

TANA WEINGARTNER, BYLINE: It was December 3, 1979, and thousands of fans of The Who gathered hours early on a plaza outside Cincinnati's Riverfront Coliseum. John Hutchins was a 17-year-old high school senior skipping school to see one of his favorite bands.

JOHN HUTCHINS: The reason we got down there so early is because of the festival seating, we know it's first come, first served.

WEINGARTNER: The crowd swelled and pushed, resulting in a crushing wave as only a few doors were opened.

HUTCHINS: We held off by, you know, just holding ourselves up against doors, against the bars. We did anything we could do just to just to go ahead and protect ourselves because, you know, our feet were off the ground at points.

WEINGARTNER: Eleven people, including three of Hutchins' classmates, died in the ensuing chaos. Within a month, the city outlawed festival seating. But that change wasn't widespread. And concert injuries continued nationwide, with promoters and bands resisting regulation. Paul Wertheimer was Cincinnati's public information officer at the time. He now runs a crowd control consulting firm. Speaking by Skype, he says there's still room for improvement.

PAUL WERTHEIMER: It's still a fight for crowd safety with - at live entertainment events. And the fight is usually against bands, promoters, venues and others related to the event itself.

WEINGARTNER: The Who band members didn't find out about the deaths until after their concert. They continued their tour, but Pete Townshend says he regrets that decision. He sees this return visit in April as a way to promote healing. John Hutchins already has his ticket.

HUTCHINS: There's just a sense of - such a sense of reconciliation with this thing. And I think when you look at the documentary and you hear Pete talk about it, you can just see that there's a sense of relief for him to actually say those words, that we're going to come back to Cincinnati.

WEINGARTNER: A portion of the proceeds will benefit a scholarship fund started by Hutchins and others in honor of the 1979 victims.

For NPR News, I'm Tana Weingartner in Cincinnati.

(SOUNDBITE OF THE WHO SONG, "BABA O'RILEY")

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

MINI REVIEW article

Music audiences 3.0: concert-goers’ psychological motivations at the dawn of virtual reality.

$\r\nJean-Philippe Charron*$

Departamento de Financiación e Investigación Comercial, Universidad Autónoma de Madrid, Madrid, Spain

Reviewing consumers’ motivations to attend performances in a continuously evolving social and technological context is essential because live concerts generate an important and growing share of revenues for the music industry. Evolving fans’ preferences and technological innovations constantly alter the way music is distributed and consumed. In a marketing 3.0 era, what consumers do with music is becoming more significant than simply owning or listening to a song. These changes are not only blurring the lines between production and consumption (i.e., co-creation), but also distorting the concept of live attendance altogether. Although mediated performances typically lack presence and authenticity, recent advances in immersive technologies, such as spherical videos and virtual reality goggles, could represent a new form of experiencing live music.

Introduction

Twenty year ago, Kotler and Scheff (1997 ) recommended cultural managers to give performing arts a marketing orientation, where target audiences’ needs and preferences are central to all decision making. It appears that putting music fans at the epicenter of marketing strategies has become especially relevant in this digital day and age. In that sense, the evolution of music consumption models paired with recent technological advances now offers audiences new ways to participate in live music never thought of before, including virtually attending gigs. Therefore, knowledge about music fans’ reasons and motivations to attend live concerts will extend our understanding of music audiences, a key aspect of arts marketing ( Pitts and Spencer, 2008 ; Colbert and St-James, 2014 ).

Contextually, understanding concert-goers’ motivations to participate in live performances is increasingly important since attendance represents an essential and growing share of revenues for the music industry and performers alike ( Harbi et al., 2014 ). For example, the Spanish music industry’s incomes plummeted because of digital piracy, the economic crisis, and a cultural sales tax of nearly twice the European average. Still, revenues from live music concerts grew a steady 10% over the last years to reach €194.5M in 2015 ( APM and SAGE, 2016 ).

Today’s ubiquitous access to digital content and social networks has modified consumers’ relation to music in general and live concert participation in particular. This paper intends to review actual and future characteristics of concert attendance under the following triad of factors: concert-going psychological motivations, music-consumption models, and technological innovations.

Why go to Concerts?

The way cultural goods are produced, distributed, and consumed is constantly evolving based on rapidly spreading technology and shifting consumers’ preferences ( Harbi et al., 2014 ). Accordingly, music consumers are moving away from a music acquisition-based model to an access-based model ( Wikström, 2012 ). Up to recently, the possession of music—even in its digital form stored on electronic devices—was valued by consumers and served as the extension of one’s self ( Belk, 2013 ). However, as Spotify, YouTube, and Deezer are becoming the dominant means of mass music consumption ( Marshall, 2015 ), today’s fans are not so much interested in “owning” a song, neither physically nor digitally 1 . Instead, music consumers now favor access to a large quantity of online content. As Belk (2013) noted, part of the value of digital goods came from the time and efforts required to obtain them. In that sense, accessing music on streaming platforms is easier than ever. Consequently, under the access-based model, a listener’s music playlists may well be more valuable than the actual digital songs (i.e., the dematerialized possession) contained in them, as well as the ability to share such lists (i.e., one’s musical tastes) online. These changing consumer preferences are eased by technological innovations including the digitalization of music, but also the pervasiveness of Internet, the multiplication of content-streaming platforms, and the emergence of social networks.

From a psychological standpoint, the digital revolution changed the importance traditionally given to at least two broadly recognized concert-attending motives ( Trocchia et al., 2011 ; Kulczynski et al., 2016 ). For one, attending a concert to explore discover new artists has become almost irrelevant. Potential concert-goers are better informed than ever about touring bands, concerts dates, and selected venues. They rely on promotional information as well as expert opinions and word-of-mouth. By facilitating information and content, digital technologies encourage participants to try out new performers and reduces the inherent disappointment or financial risks of attending a concert ( Burland and Pitts, 2010 ; Farrugia and Gobatto, 2010 ).

Conversely, social motives to attend leisure activities generally stem from two necessities: the desire for interpersonal relations and the need for esteem from others ( Beard and Ragheb, 1983 ). The former mostly refers to the sense of community concert-goers experience when attending a live performance. But, as Bennett (2015) suggests, live concerts also complement participation in online communities such as music blogs and social networks. Regarding the later, achieving status and obtaining the respect and admiration of others drive individuals to attend live music performances ( Kulczynski et al., 2016 ), what Holt (2010) refers to as “self-realization through cultural consumption.” That is, concert-goers can earn bragging rights by showing off their participation in live concerts. Although “I was at Woodstock” has long been a status-enhancement statement, the phenomenon grew in magnitude alongside the rapid development of virtual social networks ( Lingel and Naaman, 2012 ). Social media now allows concert-goers to share photos, videos, and comments with offsite but online friends, who in turn may reward concert-goers with instant feedback such as “likes” ( Scott and Harmon, 2016 ). Accordingly, sharing attendance to live performances via social networks can help define one’s identity by indicating a higher level of authenticity, where concert-going is generally perceived as the “real deal,” a more authentic experience than streaming pre-recorded songs, for example ( Cresswell-Jones and Bennett, 2015 ; Shuker, 2016 ). However, as Lingel and Naaman (2012) suggested, producing online content during a live performance means trading off present (personal) enjoyment for future (social) gains.

Music Audiences 3.0

Holt (2010) argues that the value of music relates to factors beyond the music itself, and that “musical practices must be analyzed in the perspective of broader social and technological changes.” In that context, the music industry will keep moving away from ownership and access-based models toward a context-based model ( Wikström, 2012 ). Because of recent advances in digital technologies, context-based models offer consumers the necessary tools to experience music rather than just listening to it. These innovations not only blur the boundary between production and consumption of music (i.e., co-creation), but also between live and mediated performances (i.e., liveness).

Under the service-dominant logic of marketing ( Vargo and Lusch, 2004 , 2008 ), co-creation implies that engaged consumers participate in creating and giving meaning to products, services, and experiences. In that sense, co-creation is an integral part of the artistic experience, where audiences engage in cognitive, emotional, and imaginal practices to make sense of the performance ( Ramsey White et al., 2009 ; Colbert and St-James, 2014 ). Live concerts also symbolize a co-creation resulting from the interaction between performers and attendance, and where the end product is the concert experience ( Minor et al., 2004 ; Holt, 2010 ). Other forms of co-creation also stem from live performances, including bootleg recordings of live concerts later distributed online via social networks ( Farrugia and Gobatto, 2010 ; Lingel and Naaman, 2012 ).

Technological innovations also distort the frontier between live and mediated performances. Video-streaming platforms and other web-based applications offer users the possibility to attend “live” concerts online. The question of whether mediated artistic performances can procure a similar experience is causing much debate. On the one hand, some argue that digitally mediated concerts impede “the possibilities for the unexpected, iterative, and expansive experience” ( Harper, 2015 ). In other words, even if digital mediation maintains the time dimension ( now ) of live performances, it ultimately loses its space dimension ( here ). In that sense, regardless of technological developments, live performances retain some elements of uniqueness that cannot be reproduced, such as being there ( Holt, 2010 ; Harper, 2015 ).

On the other hand, fueled by the development of immersive technologies such as spherical videos and VR goggles, virtual concerts are rapidly growing in popularity online. Interestingly, the concept of presence is frequently associated with immersive technologies, where greater levels of immersive quality elicit higher levels of presence, in turn enhancing the effectiveness of a mediated experience ( Jung et al., 2015 ; Cummings and Bailenson, 2016 ).

Whether live or mediated, the concepts of presence, of being part of something unique and special with likeminded, is manifestly a key component of the experiential nature of concert-going ( Brown and Knox, 2016 ). While greater engagement, participation, and involvement tends to improve customer experience ( Ramsey White et al., 2009 ; Dobson, 2010 ; Chen et al., 2011 ; Kemp and White, 2013 ), such relationships in the virtual world remain largely unknown.

Music consumption in the digital era is currently receiving a lot of attention. This paper contributes to the review of selected psychological motivations to attend live concerts in continuously evolving social and technological environments. Conceptually, the paper has addressed fans motives to participate in live music within two different Internet eras, often referred to as Marketing 2.0 and 3.0. The first section consisted of a reflection on the shifting importance of intellectual and social motivations to attend concerts. The second section entailed the growing relation between music context and consumer experience. A brief reflection was also initiated on the emergence of virtual reality as novel form of mediated performances, and where immersive technologies can improve virtual participants’ perception of being there , an important factor for concert-goers.

As recent technological advances now offer audiences new ways to participate in live music, including virtually attending gigs, knowledge about music fans’ reasons and motivations to attend both live and mediated virtual concerts will extend our understanding of music audiences in general. A core question raised in this paper, and one that demands further research, is the extent to which technology can increase participants’ engagement and improve the virtual concert experience in the physical absence of others, knowing that social and musical enjoyments often go together ( Brown and Knox, 2016 ). A second question requiring more research is how future developments in immersive technology, although difficult to imagine for the moment, will affect the virtual concert experience and the demand for live performances. Potential changes in consumer preferences are important for the music industry because the economic potential of virtual concerts is almost infinite.

Author Contributions

The author confirms being the sole contributor of this work and approved it for publication.

Conflict of Interest Statement

The author declares that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

The reviewer SS and handling Editor declared their shared affiliation, and the handling Editor states that the process nevertheless met the standards of a fair and objective review.

^ The music industry also supported the transition from an acquisition-based to an access-based model as a mean to fight back digital piracy and its negative effect on pre-recorded music sales. Paradoxically, illegal file sharing generated positive externalities for the music industry, such as growing audiences ( Curien and Moreau, 2009 ; Mortimer et al., 2012 ) and surging ticket prices ( Krueger, 2005 ).

APM and SAGE (2016). VII Anuario de la Música en Vivo. Available at: http://www.apmusicales.com/

Beard, J. G., and Ragheb, M. G. (1983). Measuring leisure motivation. J. Leis. Res. 15, 219–228.

Google Scholar

Belk, R. W. (2013). Extended self in a digital world. J. Consum. Res. 40, 477–500. doi: 10.1086/671052

CrossRef Full Text | Google Scholar

Bennett, R. J. (2015). “Live concerts and fan identity in the age of the Internet,” in The Digital Evolution of Live Music , eds A. Jones, J. Bennett, and R. J. Bennett (Oxford: Chandos Publishing), 3–15.

Brown, S. C., and Knox, D. (2016). Why go to pop concerts? The motivations behind live music attendance. Music. Sci. 1–17. doi: 10.1177/1029864916650719

Burland, K., and Pitts, S. E. (2010). Understanding jazz audiences: listening and learning at the Edinburgh jazz and blues festival. J. New Music Res. 39, 125–134. doi: 10.1080/09298215.2010.493613

Chen, Y.-C., Li, R.-H., and Chen, S.-H. (2011). Relationships among adolescents’ leisure motivation, leisure involvement, and leisure satisfaction: a structural equation model. Soc. Indic. Res. 110, 1187–1199. doi: 10.1007/s11205-011-9979-2

Colbert, F., and St-James, Y. (2014). Research in arts marketing: evolution and future directions. Psychol. Mark. 31, 566–575. doi: 10.1002/mar.20718

PubMed Abstract | CrossRef Full Text | Google Scholar

Cresswell-Jones, A., and Bennett, R. J. (2015). The Digital Evolution of Live Music. Oxford: Chandos Publishing.

Cummings, J. J., and Bailenson, J. N. (2016). How immersive is enough? A meta-analysis of the effect of immersive technology on user presence. Media Psychol. 19, 272–309. doi: 10.1080/15213269.2015.1015740

Curien, N., and Moreau, F. (2009). The music industry in the digital era: toward new contracts. J. Media Econ. 22, 102–113. doi: 10.1080/08997760902900254

Dobson, M. C. (2010). New audiences for classical music: the experiences of non-attenders at live orchestral concerts. J. New Music Res. 39, 111–124. doi: 10.1080/09298215.2010.489643

Farrugia, R., and Gobatto, N. (2010). Shopping for legs and boots: tori amos’s original bootlegs, fandom, and subcultural capital. Pop. Music Soc. 33, 357–375. doi: 10.1080/03007760903523153

Harbi, S. E., Grolleau, G., and Bekir, I. (2014). Substituting piracy with a pay-what-you-want option: does it make sense? Eur. J. Law Econ. 37, 277–297. doi: 10.1007/s10657-011-9287-y

Harper, T. (2015). “Aura, iteration and action: digital technology and the jouissance of live music,” in The Digital Evolution of Live Music , (Oxford: Chandos Publishing.), 17–27.

Holt, F. (2010). The economy of live music in the digital age. Eur. J. Cult. Stud. 13, 243–261. doi: 10.1177/1367549409352277

Jung, T., Chung, N., and Leue, M. C. (2015). The determinants of recommendations to use augmented reality technologies: the case of a Korean theme park. Tour. Manag. 49, 75–86. doi: 10.1016/j.tourman.2015.02.013

Kemp, E., and White, M. G. (2013). Embracing jazz: exploring audience participation in jazz music in its birthplace. Int. J. Arts Manag. 16, 35–48.

Kotler, P., and Scheff, J. (1997). Standing Room Only: Strategies for Marketing the Performing Arts. Boston, MA: Harvard Business Press.

Krueger, A. B. (2005). The economics of real superstars: the market for rock concerts in the material world. J. Labor Econ. 23, 1–30. doi: 10.1086/425431

Kulczynski, A., Baxter, S., and Young, T. (2016). Measuring motivations for popular music concert attendance. Event Manag. 20, 239–254. doi: 10.3727/152599516X14643674421816

Lingel, J., and Naaman, M. (2012). You should have been there, man: live music, DIY content and online communities. New Media Soc. 14, 332–349. doi: 10.1177/1461444811417284

Marshall, L. (2015). “Let”s keep music special. F—Spotify’: on-demand streaming and the controversy over artist royalties. Creat. Ind. J. 8, 177–189. doi: 10.1080/17510694.2015.1096618

Minor, M. S., Wagner, T., Brewerton, F. J., and Hausman, A. (2004). Rock on! An elementary model of customer satisfaction with musical performances. J. Serv. Mark. 18, 7–18. doi: 10.1108/08876040410520672

Mortimer, J. H., Nosko, C., and Sorensen, A. (2012). Supply responses to digital distribution: recorded music and live performances. Inf. Econ. Policy 24, 3–14. doi: 10.1016/j.infoecopol.2012.01.007

Pitts, S. E., and Spencer, C. P. (2008). Loyalty and longevity in audience listening: investigating experiences of attendance at a chamber music festival. Music Lett. 89, 227–238. doi: 10.1093/ml/gcm084

Ramsey White, T., Hede, A., and Rentschler, R. (2009). Lessons from arts experiences for service-dominant logic. Mark. Intell. Plan. 27, 775–788. doi: 10.1108/02634500910988672

Scott, D., and Harmon, J. (2016). Extended leisure experiences: a sociological conceptualization. Leis. Sci. 38, 482–488. doi: 10.1080/01490400.2015.1123126

Shuker, R. (2016). Understanding Popular Music Culture. Abingdon: Routledge.

Trocchia, P. J., Apps, M. M., and McNish, S. E. (2011). A typology of music consumption motivations. Int. Bus. Econ. Res. J. 1, 9–16 doi: 10.19030/iber.v1i9.3972

Vargo, S. L., and Lusch, R. F. (2004). Evolving to a new dominant logic for marketing. J. Mark. 68, 1–17. doi: 10.1509/jmkg.68.1.1.24036

Vargo, S. L., and Lusch, R. F. (2008). Service-dominant logic: continuing the evolution. J. Acad. Mark. Sci. 36, 1–10. doi: 10.1007/s11747-007-0069-6

Wikström, P. (2012). A typology of music distribution models. Int. J. Music Bus. Res. 1, 7–20.

Keywords : virtual reality, concert attendance, marketing 3.0, psychological motivations, live music audience, mediated performance

Citation: Charron J-P (2017) Music Audiences 3.0: Concert-Goers’ Psychological Motivations at the Dawn of Virtual Reality. Front. Psychol. 8:800. doi: 10.3389/fpsyg.2017.00800

Received: 31 March 2017; Accepted: 02 May 2017; Published: 23 May 2017.

Reviewed by:

Copyright © 2017 Charron. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) . The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

*Correspondence: Jean-Philippe Charron, [email protected]

Disclaimer: All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations, or those of the publisher, the editors and the reviewers. Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher.

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Music Audiences 3.0: Concert-Goers’ Psychological Motivations at the Dawn of Virtual Reality

Introduction

Twenty year ago, Kotler and Scheff (1997) recommended cultural managers to give performing arts a marketing orientation, where target audiences’ needs and preferences are central to all decision making. It appears that putting music fans at the epicenter of marketing strategies has become especially relevant in this digital day and age. In that sense, the evolution of music consumption models paired with recent technological advances now offers audiences new ways to participate in live music never thought of before, including virtually attending gigs. Therefore, knowledge about music fans’ reasons and motivations to attend live concerts will extend our understanding of music audiences, a key aspect of arts marketing ( Pitts and Spencer, 2008 ; Colbert and St-James, 2014 ).

Why go to Concerts?

Music Audiences 3.0

Author Contributions

The author confirms being the sole contributor of this work and approved it for publication.

Conflict of Interest Statement

The author declares that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest. The reviewer SS and handling Editor declared their shared affiliation, and the handling Editor states that the process nevertheless met the standards of a fair and objective review.

1 The music industry also supported the transition from an acquisition-based to an access-based model as a mean to fight back digital piracy and its negative effect on pre-recorded music sales. Paradoxically, illegal file sharing generated positive externalities for the music industry, such as growing audiences ( Curien and Moreau, 2009 ; Mortimer et al., 2012 ) and surging ticket prices ( Krueger, 2005 ).

APM and SAGE (2016). VII Anuario de la Música en Vivo. Available at: http://www.apmusicales.com/ [ Google Scholar ]
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Belk R. W. (2013). Extended self in a digital world. J. Consum. Res. 40 477–500. 10.1086/671052 [ CrossRef ] [ Google Scholar ]
Bennett R. J. (2015). “Live concerts and fan identity in the age of the Internet,” in The Digital Evolution of Live Music , eds Jones A., Bennett J., Bennett R. J. (Oxford: Chandos Publishing; ), 3–15. [ Google Scholar ]
Brown S. C., Knox D. (2016). Why go to pop concerts? The motivations behind live music attendance. Music. Sci. 1–17. 10.1177/1029864916650719 [ CrossRef ] [ Google Scholar ]
Burland K., Pitts S. E. (2010). Understanding jazz audiences: listening and learning at the Edinburgh jazz and blues festival. J. New Music Res. 39 125–134. 10.1080/09298215.2010.493613 [ CrossRef ] [ Google Scholar ]
Chen Y.-C., Li R.-H., Chen S.-H. (2011). Relationships among adolescents’ leisure motivation, leisure involvement, and leisure satisfaction: a structural equation model. Soc. Indic. Res. 110 1187–1199. 10.1007/s11205-011-9979-2 [ CrossRef ] [ Google Scholar ]
Colbert F., St-James Y. (2014). Research in arts marketing: evolution and future directions. Psychol. Mark. 31 566–575. 10.1002/mar.20718 [ CrossRef ] [ Google Scholar ]
Cresswell-Jones A., Bennett R. J. (2015). The Digital Evolution of Live Music. Oxford: Chandos Publishing. [ Google Scholar ]
Cummings J. J., Bailenson J. N. (2016). How immersive is enough? A meta-analysis of the effect of immersive technology on user presence. Media Psychol. 19 272–309. 10.1080/15213269.2015.1015740 [ CrossRef ] [ Google Scholar ]
Curien N., Moreau F. (2009). The music industry in the digital era: toward new contracts. J. Media Econ. 22 102–113. 10.1080/08997760902900254 [ CrossRef ] [ Google Scholar ]
Dobson M. C. (2010). New audiences for classical music: the experiences of non-attenders at live orchestral concerts. J. New Music Res. 39 111–124. 10.1080/09298215.2010.489643 [ CrossRef ] [ Google Scholar ]
Farrugia R., Gobatto N. (2010). Shopping for legs and boots: tori amos’s original bootlegs, fandom, and subcultural capital. Pop. Music Soc. 33 357–375. 10.1080/03007760903523153 [ CrossRef ] [ Google Scholar ]
Harbi S. E., Grolleau G., Bekir I. (2014). Substituting piracy with a pay-what-you-want option: does it make sense? Eur. J. Law Econ. 37 277–297. 10.1007/s10657-011-9287-y [ CrossRef ] [ Google Scholar ]
Harper T. (2015). “Aura, iteration and action: digital technology and the jouissance of live music,” in The Digital Evolution of Live Music , (Oxford: Chandos Publishing; ), 17–27. [ Google Scholar ]
Holt F. (2010). The economy of live music in the digital age. Eur. J. Cult. Stud. 13 243–261. 10.1177/1367549409352277 [ CrossRef ] [ Google Scholar ]
Jung T., Chung N., Leue M. C. (2015). The determinants of recommendations to use augmented reality technologies: the case of a Korean theme park. Tour. Manag. 49 75–86. 10.1016/j.tourman.2015.02.013 [ CrossRef ] [ Google Scholar ]
Kemp E., White M. G. (2013). Embracing jazz: exploring audience participation in jazz music in its birthplace. Int. J. Arts Manag. 16 35–48. [ Google Scholar ]
Kotler P., Scheff J. (1997). Standing Room Only: Strategies for Marketing the Performing Arts. Boston, MA: Harvard Business Press. [ Google Scholar ]
Krueger A. B. (2005). The economics of real superstars: the market for rock concerts in the material world. J. Labor Econ. 23 1–30. 10.1086/425431 [ CrossRef ] [ Google Scholar ]
Kulczynski A., Baxter S., Young T. (2016). Measuring motivations for popular music concert attendance. Event Manag. 20 239–254. 10.3727/152599516X14643674421816 [ CrossRef ] [ Google Scholar ]
Lingel J., Naaman M. (2012). You should have been there, man: live music, DIY content and online communities. New Media Soc. 14 332–349. 10.1177/1461444811417284 [ CrossRef ] [ Google Scholar ]
Marshall L. (2015). “Let”s keep music special. F—Spotify’: on-demand streaming and the controversy over artist royalties. Creat. Ind. J. 8 177–189. 10.1080/17510694.2015.1096618 [ CrossRef ] [ Google Scholar ]
Minor M. S., Wagner T., Brewerton F. J., Hausman A. (2004). Rock on! An elementary model of customer satisfaction with musical performances. J. Serv. Mark. 18 7–18. 10.1108/08876040410520672 [ CrossRef ] [ Google Scholar ]
Mortimer J. H., Nosko C., Sorensen A. (2012). Supply responses to digital distribution: recorded music and live performances. Inf. Econ. Policy 24 3–14. 10.1016/j.infoecopol.2012.01.007 [ CrossRef ] [ Google Scholar ]
Pitts S. E., Spencer C. P. (2008). Loyalty and longevity in audience listening: investigating experiences of attendance at a chamber music festival. Music Lett. 89 227–238. 10.1093/ml/gcm084 [ CrossRef ] [ Google Scholar ]
Ramsey White T., Hede A., Rentschler R. (2009). Lessons from arts experiences for service-dominant logic. Mark. Intell. Plan. 27 775–788. 10.1108/02634500910988672 [ CrossRef ] [ Google Scholar ]
Scott D., Harmon J. (2016). Extended leisure experiences: a sociological conceptualization. Leis. Sci. 38 482–488. 10.1080/01490400.2015.1123126 [ CrossRef ] [ Google Scholar ]
Shuker R. (2016). Understanding Popular Music Culture. Abingdon: Routledge. [ Google Scholar ]
Trocchia P. J., Apps M. M., McNish S. E. (2011). A typology of music consumption motivations. Int. Bus. Econ. Res. J. 1 9–16 10.19030/iber.v1i9.3972 [ CrossRef ] [ Google Scholar ]
Vargo S. L., Lusch R. F. (2004). Evolving to a new dominant logic for marketing. J. Mark. 68 1–17. 10.1509/jmkg.68.1.1.24036 [ CrossRef ] [ Google Scholar ]
Vargo S. L., Lusch R. F. (2008). Service-dominant logic: continuing the evolution. J. Acad. Mark. Sci. 36 1–10. 10.1007/s11747-007-0069-6 [ CrossRef ] [ Google Scholar ]
Wikström P. (2012). A typology of music distribution models. Int. J. Music Bus. Res. 1 7–20. [ Google Scholar ]

Visit Our Recipe Site EAT YOUR BEETS!

Travel Tips for Concert-Goers: How to Maximize Your Experience

Sharing is caring!

The joy of live music is a powerful magnet that attracts people to concert venues, whether big or small, across the globe. The exhilarating mix of pulsating music, a vibrant atmosphere, and shared enthusiasm among fans creates an experience that’s hard to match.

For many, a concert is more than just a few hours of live music; it’s a much-anticipated event, prepared for over weeks and cherished for years. When the thrill of a concert combines with the adventure of traveling, whether to a nearby city or a different country, the excitement escalates tremendously.

Traveling for concerts is a growing trend that seamlessly blends two deep-rooted passions—music and wanderlust. However, like any adventure, a concert trip demands a blend of thorough preparation, smart choices, and an eagerness for new experiences.

It’s not merely about grabbing the tickets to see your favorite band live but about crafting a seamless and memorable experience from the moment you decide to attend to the reminiscing that follows long after the concert lights go off. The journey, the stay, the concert, and the memories—every aspect brims with the promise of adventure and joy as long as it’s well-planned and executed.

With the right preparation, a sense of exploration, and a heart full of music, your concert trip can transcend from a mere musical escapade to a wholesome, enriching adventure. This guide aims to assist you in orchestrating a concert trip that aligns perfectly with your expectations and resonates with the sweet notes of unforgettable memories.

Embrace the Country Concert Vibe

Country concerts are a realm of rustic charm mingled with high-energy performances. The attire, the ambiance, and the camaraderie among fans make it a unique experience. Dressing up in your best country outfit will not only get you in the right mood but also help you blend in with the crowd.

Joining the line dancing and reveling in the hearty music at country concerts is a way to immerse yourself in the experience fully. The vibe at country concerts is unlike any other, and embracing it will surely make your concert trip a memorable one.

Choose the Right Accommodation

Picking the right accommodation can significantly elevate your concert experience. Look for places close to the venue to cut down on travel time and costs. Read reviews and maybe even connect with previous guests to get a better understanding of the place.

Consider the amenities offered, and if possible, find accommodation that caters to concert-goers as they might have special arrangements or discounts. The convenience of staying near the venue means you can bask in the concert atmosphere for longer and perhaps even bump into fellow fans or the artists themselves!

Get Your Tickets Early

Early ticket procurement is a wise move. It not only secures your place but often gets you better deals or seats. Keep your tickets safe, and have digital backups to avoid any last-minute hassles. Also, check if any VIP or early entry options could provide you with a superior concert experience.

The earlier you sort out your tickets, the less you’ll have to worry as the concert date approaches. Plus, having your tickets in hand will heighten the anticipation and excitement as you countdown to the big day.

Explore the Local Scene

Every place boasts its distinctive music scene. Before or after the concert, take time to explore local music venues or events. Interacting with local music lovers can provide recommendations for bars, clubs, or indie concerts happening in the area.

It’s a fantastic way to discover new music and understand the local culture better. You never know; you might stumble upon a local band or artist that becomes your new favorite. Exploring the local scene enriches your concert trip, making it a broader musical adventure.

Stay Safe and Healthy

Your health and safety should always be a priority. Ensure you’re well-rested before the concert and stay hydrated throughout. Be cautious of your belongings, especially in crowded places, and have emergency contacts saved on your phone.

It’s easy to get carried away with the excitement, but maintaining a sense of awareness and taking basic health precautions will ensure you enjoy the concert to the fullest without any unwarranted disruptions.

Dress Appropriately

Dressing for comfort, style, and the weather is essential. Comfortable footwear is a must, as concerts involve a lot of standing and dancing. Check the weather forecast and dress in layers if necessary to adjust to temperature changes.

Your choice of attire can significantly impact your concert experience, and dressing appropriately will ensure you can fully enjoy every moment without any discomfort.

Engage with Other Fans

Being part of a community with shared musical interests is exhilarating. Engage with other fans, share your experiences, and create new friendships.

Joining fan meet-ups or pre-concert gatherings can also enhance your concert-going experience. The shared love for music creates a sense of belonging and camaraderie that can lead to lasting friendships and memorable experiences.

Conclusion:

The path of a concert-goer is a melodious adventure that transcends the boundaries of ordinary travel. It’s a venture fueled by the rhythm of music and the allure of live performances that touch the soul.

As the anticipation builds, the journey unfolds, and the music plays, every note carries the potential to etch memories that resonate through time.

Through meticulous planning, engaging with the music and the community, and soaking in every moment, your concert trip can become a cherished melody in the soundtrack of your life.

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5 Things To Know Before Seeing Taylor Swift At “The Eras Tour”

Taylor Swift is touring for the first time since 2018 and has released four studio albums — Lover, Folklore, Evermore and Midnights — in the five years that followed her Reputation Stadium Tour. Swift announced The Eras Tour on Nov. 1, 2022, just weeks following the announcement of Midnights, her tenth studio album.

The timing of the announcements led some to believe that The Eras Tour would essentially become a Midnights-centric tour, but that wasn’t the case. Swift opened the tour on March 17 in Glendale, Arizona with a 44-track set list that spanned much of her discography to date.

Since a showing of The Eras Tour is a long concert bringing unprecedented fan turnout, you’ll have to consider different things than other concerts when preparing to see Swift on tour.

Wear Comfortable Shoes

The Eras Tour can extend beyond five hours in length when you consider openers, intermissions and Swift’s lengthy performance. Though exact total times will vary based on the openers and final set list at each venue, Swift’s typical set list runs roughly three hours and 13 minutes.

At the March 17 show in Glendale, fans remained on their feet for the entirety of the show, and other showings to date have displayed the same fan involvement. That’ll mean attendees will need to stand up to catch a glimpse of Swift for hours straight, most likely standing on concrete stadiums. To stay comfortable and avoid missing out, wear running shoes, quality sneakers or other sturdy shoes to the concert.

Don’t Stand In Line For The Merch Truck

The Eras Tour has brought incredible demand for tour merchandise, and some items have sold out at showings within minutes of gates opening. Though some merchandise items are available on Swift’s online store , others — like the highly-sought blue crewneck — are exclusive to the tour.

Gates typically open for 6:30 p.m. showings two hours before the scheduled start times. A large merchandise truck usually opens at noon, with lines forming even before that. Though people have suggested standing in line for the merch truck hours before entering the venue, that isn’t the best way to be successful.

Instead, wait in line after passing through the security checkpoint in front of the stadium’s gates. There are a multitude of merchandise stands inside the venue that have stock of all the most popular merchandise items. Waiting in front of the stadium gates will allow you to be the first to enter the venue, all but guaranteeing access to merchandise.

However, keep in mind that not all merchandise stands have the same items available. Be sure to glance at the red tapestry showcasing available items before getting in line to wait.

Bring Earplugs. Seriously.

A ton of people have suggested that concert-goers wear protective earplugs to The Eras Tour shows, and it’s easy to dismiss the idea. Of course, after paying hundreds of dollars to see Swift, attendees want to make sure they are enjoying the atmosphere to the fullest.

Regardless, people going to The Eras Tour should seriously consider wearing earplugs to the concert. It’s not necessarily to protect the wearer’s ears from the sound of Swift’s music — that sound level is about the same as other stadium concerts.

But not many other concerts have more than 70,000 people scream-singing lyrics at the top of their lungs for hours straight. Ever experienced ear pain because someone was screaming in your ear? That’s essentially what The Eras Tour can be, at times.

And yes, you’ll still be able to hear all of Swift’s stunning vocals while wearing ear protection.

Make A Clear Bag Plan Before You Go

Most people attending The Eras Tour will be going to stadiums near their home, and may have attended those venues previously. However, Swift has enacted her own bag policies that may differ from the stadium’s typical policies.

Generally, The Eras Tour has a stringent bag policy that requires all bags to be clear and not exceed 12” x 6” x 12” dimensions. A detailed list of prohibited items for Swift’s showing at Ford Field in Detroit, Michigan can be found here , but check with your venue for the exact policy.

To make sure your items are in compliance, make a plan before leaving to ensure nothing gets thrown away at the security checkpoint. It’s important to purchase a clear bag in advance, because prices will be higher at and around the stadium on the day of the showing.

Ready Your Smartphone

The length of Eras Tour shows poses another problem, this time for your phone. Since the concert is upwards of five hours long — and attendees might have to travel before and after with their device — battery is a concern. To combat this, make sure phones are fully charged, low power mode is enabled and brightness is down when possible.

Consider purchasing a portable charger for the event and remember to bring the right cables for your device. This could extend a phone’s life by hours, depending on the portable charger.

For people that plan to record a lot of photos and videos of the concert, check how much storage is left on your smartphone. A photo can take up as many as 25 megabytes of storage, with videos taking up gigabytes of space based on their length. To free up space, upload media to the cloud, save it to a computer or delete unnecessary apps for the time being.

If you’re really in a pinch for space, Android users can utilize expanded storage with a microSD card or a USB-C flash drive. For iPhone users, the Sandisk iXpand flash drive can add up to 256 gigabytes of extra storage.

Enjoy The Show

After fighting tooth-and-nail for concert tickets, you’ve gotten the chance to see The Eras Tour, so follow these tips for the best experience.

Brady Snyder
Taylor Swift

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Watch CBS News

Denver concertgoers and promoters decry rising costs of attending and organizing events

By Alan Gionet

April 16, 2024 / 10:30 PM MDT / CBS Colorado

Word of the potential of a Justice Department antitrust lawsuit against the country's largest concert promoter Live Nation and its parent company Ticketmaster has people talking about the fees that irritate them and the price of tickets that have become more prohibitive.

If you've been to a concert or even a major sporting event in Denver, the odds are good that you've dealt with Live Nation or Ticketmaster.

"There are so many people that have to sacrifice either a weekend away or a concert. And that's crazy to either think of a trip costs as much as it does to go to a concert," said Kevin McConnell, who was visiting Red Rocks on Tuesday. "The fees are just crazy. Everything nowadays is just nuts," said Mark Sutherburg of Lone Tree. He used to go to a handful of shows per year. Now it's down to one.

In Colorado, there is a decline in attendance for some performances, while others are doing well. There has for sure been a shift. In 2021 at the Levitt Pavilion in Ruby Hill Park, there was a rise as the pandemic ebbed.

"Things have definitely plateaued if not kind of gone down a little bit," said Andrew Thomas, who is deputy director for the Levitt Pavilion. The pandemic was hard. "What we lost in the pandemic was community. People weren't around people. That's sad."

But re-establishing culture is hard as well. Costs are rising and that proves challenging for the nonprofit efforts at the pavilion; that means 40 to 50 free shows a year.

"Things are expensive," Thomas said. "Music's expensive. Gas is expensive. Alcohol is expensive. All of these things that you attribute to tour musicians or to concerts have kind of made it so some of those costs are passed onto to the consumer. So it's tricky right now."

For some fans, it has meant fewer performances.

"I decided not to go to see Beyoncé because it was like a million dollars to get there," said Sonia Thomas, a music fan visiting Red Rocks who's not related to Andrew. Her daughter paid $950 for that show, she said.

"I love NBA basketball. It's really expensive to see the Nuggets now," said Andrew Thomas.

But years in the music business have taught him things about costs.

"It costs money to rent a sound system. It costs money to put up a fence. It costs money to rent the portalets and all those things continue to increase," he said.

The fees are off-putting.

"As a consumer, they're very frustrating," he continued. "So when I have to go buy a concert ticket, I get frustrated with fees too. As someone who's in the industry, I know those fees all go towards something, so venues take fees. Promoters take fees. Bands take most of the ticket price that you're paying."

But with inflation, people are making hard choices. The fear for arts organizations is that people may set aside the culture that binds us. Mark Sutherburg tells his family that might be the deciding factor.

"And I always tell them, 'you've got to prioritize.' And I've always told them 'the bills come first and whatever is extra is whatever is extra,'" he said.

It brings up worries about access to culture.

"It's the reason why people come to cities. You know, it's the culture," said Andrew Thomas. "And the culture is made up of things like music and museums and all these things. So it's a reason why people end up in all these places. So I don't want to live in a city that doesn't have culture."

Alan Gionet is a reporter for CBS News Colorado. Read his latest reports or check out his bio and send him an email .

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Electronics

The Best Earplugs for Concerts

All of the earplugs and earmuffs we tested and recommend.

By Lauren Dragan

Lauren Dragan writes about audio tech and OTC hearing aids. She has tested nearly 2,000 headphones and earbuds in her decade at Wirecutter.

The world has gotten louder, and it’s ruining people’s ears . If you’re looking for hearing protection for the occasional concert, club, or sporting event, affordable universal-fit earplugs like the Loop Experience Earplugs are an improvement over foam plugs.

But if you’re a professional musician or a frequent concert-goer, we suggest that you go to an audiologist and get custom-made earplugs .

Everything we recommend

Loop Experience Earplugs

Good fit and comfort.

Although no universal earplug will reduce different sounds as evenly as a custom design, the Loop pair offers solid noise protection and is the most enjoyable to wear.

Buying Options

Upgrade pick.

Decibullz Professional High Fidelity Earplugs

Good for hard-to-fit ears.

This pair conforms to fit the toughest ear shapes, and it offers more noise protection with a slightly clearer sound than many of the universal earplugs we tested.

Muted Earmuffs

Over-ear protection for kids.

Kids will love these earmuffs’ soft padding and fun designs, while adults will love the safer listening levels and lifetime build warranty.

Ems for Kids Baby Earmuffs

Best earmuffs for infants.

The soft, elastic headband and smaller earcups are gentle on tiny noggins and unobtrusive enough to allow babies to fall asleep while wearing them.

May be out of stock

What you need to know

Lots of places get loud enough to cause hearing damage, including bars, sporting events, fitness classes, and theme parks.

Audiologists say the best earplugs are ones you’ll actually wear regularly, so choose a pair that fits securely and comfortably.

If you are a musician or go to a lot of concerts, custom earplugs might be worth the investment: They sound and fit better and last longer.

Kids need hearing protection too, and the earmuff style is best. These can also be helpful for kids who are sensitive to auditory overstimulation.

Compared with cheap foam earplugs, which are designed to block all sounds, a good pair of universal-fit (aka musician-style) earplugs like the Loop Experience Earplugs will provide a much better listening experience, allowing you to hear music and voices at a safer level.

The Loop set was the only pair that every one of our testers said they would be happy to use regularly. These earplugs are comfortable to wear for an extended time and come with enough tips (four pairs) to provide a secure fit for nearly every ear shape.

Although some other competitors offered higher levels of noise protection, they either fit uncomfortably or sounded too muffled—so no one on our panel wanted to wear them.

If most universal earplugs don’t fit you correctly but you don’t want to spend several hundred dollars on custom earplugs, the Decibullz Professional High Fidelity Earplugs find a good middle ground in fit, performance, and price.

The Decibullz earplugs combine a moldable outer portion with universal inner tips in an array of sizes. They take more work to set up (you have to boil them and mold them to your ears, just as you would mold a mouthguard to your teeth), but they offer more noise protection and a slightly clearer sound than other universal-fit options do. So this was one of the only pairs that we found to be passable for musicians to wear while performing.

Although these are not as good as custom-made earplugs, they cost $100 to $200 less and don’t require an appointment with an audiologist.

The over-ear Muted Earmuffs are a great choice for children ages 18 months to roughly 12 years (depending on their head size). These were the most comfortable of all the kids earmuffs we tested, with the softest memory foam and solid (but not pinching) clamping force. The headband offers a good amount of adjustment, so these earmuffs should fit a wide variety of ages.

The kids in our test found the designs to be cute and fun, yet not too babyish. All of the earmuffs we tested met safety standards, so you could choose any of the competitors listed below based on your budget and your kid’s taste, but we found the Muted Earmuffs to be the most pleasant all around. Plus, they have a 30-day no-questions-asked return policy, as well as a lifetime build warranty.

What sets the Ems for Kids Baby Earmuffs apart is this pair’s smaller earcups and its soft, stretchy Velcro strap in place of a headband. Although these earmuffs won’t grow with a child past 18 months or so, they’re ideal for newborns who have softer skulls and for babies who are less tolerant of hard-headband designs.

The straps are hand washable and replaceable, and the entire earmuff set is covered by a one-year warranty. These earmuffs are comfy enough that little ones can sleep in them, which is perfect for families who want to stay up for fireworks, festivals, or the big game.

The research

Why you should trust us, who this is for, how we picked and tested, our pick: loop experience earplugs, upgrade pick: decibullz professional high fidelity earplugs, our pick for kids: muted earmuffs, our pick for infants: ems for kids baby earmuffs, other good earplugs for concerts, when and why you should consider custom earplugs, what to look forward to, the competition.

I hold a bachelor’s degree in both music performance and audio production from Ithaca College, and I’ve reviewed high-end home audio equipment for publications such as Home Entertainment and Sound & Vision. I also spent several years in terrestrial radio before becoming a professional voice actor in Los Angeles—so I’ve been in and out of recording studios for over a decade.

I enlisted the help of three Wirecutter staffers to test earplugs, including Brent Butterworth , who has decades of experience as an AV reviewer and is a regular jazz performer. Brent also provided measurement assistance (detailed below ).

I also interviewed two audiologists: Julie Glick, AuD, of Musicians Hearing Solutions , an audiologist for musicians based in Los Angeles; and Brian Fligor, PhD, PASC, founder and president of Boston Audiology Consultants and the Musicians’ Hearing Program , who is also the chair of the World Health Organization’s Make Listening Safe Initiative .

Noise-induced hearing loss is a growing concern as our world gets louder, so we recommend that everyone keep a good pair of earplugs on hand—especially when you’re headed to a concert, sporting event, club, or other location or activity where you’ll be exposed to loud noise over a long period of time.

Parents and caregivers should keep hearing-protection products on hand for little ones and teach older kiddos how to listen responsibly . We also recommend you look at volume-limiting headphones to further protect children’s hearing.

To illustrate the benefits of using earplugs, the graph below details actual examples of two hearing tests: One belongs to a 40-year-old woman who generally wears hearing protection to concerts and other loud events, and the other belongs to a 27-year-old female musician who has never used hearing protection. The closer each point is to the top in the graph, the quieter the tone was when they were each able to hear it—and thus, the better their hearing.

A line graph showing the hearing test comparison of a 27 year-old who does not use earplugs regularly and a 40-year-old who does use earplugs regularly.

As you can see, the musician has massive hearing damage in the vocal range (about 150 to 3,000 Hz) and above, which is especially devastating for someone in her profession. The moral of the story is: Young or old, protect your hearing. Once it’s gone, it’s gone forever.

For this guide, we focused on musician earplugs that are designed to reduce the volume yet allow you to safely experience the sounds around you.

Unlike foam earplugs that block out all sounds, these earplugs utilize a specially designed attenuation filter that allows a reduced amount of sound to pass through to a resonance channel that simulates the acoustic performance of a non-occluded ear canal.

Think of it like an electrical circuit that has resistance points but still allows electricity to pass through. When the earplugs work as promised, things should sound the same, just not as dangerously loud.

After doing extensive research and interviewing two audiologists, we set the following criteria to help narrow down our list of universal-fit, musician-style earplugs to test:

Multiple pairs of tips: In order for earplugs to protect you, they must seal your ear canal completely. So we considered only those earplugs that came with two or more tip sizes to help you find the right fit.
An inconspicuous design: In our research, we found that people don’t like earplugs that jut out awkwardly or are brightly colored in a way that broadcasts their use. So we searched for earplugs that could blend in or seem to disappear into the ear.
A carrying case: Forgetting or losing earplugs is another major reason why they don’t get used, so we wanted a set with a carrying case that you could keep in a pocket or bag or attach to a keychain for easy access.

What about the level of noise protection? Most earplugs have a listed noise reduction rating (NRR), which is a government-standardized number that is supposed to indicate, in decibels (dB), how much reduction one might expect from a given pair of earplugs. We didn’t set a minimum NRR requirement because our experts told us that more is not always better for every situation. The amount of protection you need will vary based on the intensity and duration of the noise to which you’ll be exposed.

If you go to loud events only once in a blue moon and live an otherwise quiet life, you’ll probably be fine with a lower NRR. However, if you attend a three-day music festival where noise levels reach 110 dB regularly, and you’re there for eight hours a day, you’ll need a higher NRR.

Note too that these earplugs are not designed for industrial settings, construction work, or other occupations where severe noise exposure is common.

For our tests, we performed both subjective and objective assessments.

First I assembled a four-person panel (including Brent Butterworth and myself) that covered a range of ear sizes. Over the course of several weeks, we wore the earplugs during a variety of activities, including trips to loud bars, music rehearsals and performances, group exercise classes, and concerts.

Each panelist evaluated the different earplugs based on several performance traits:

Fit: A good fit is crucial to successfully block out noise, and for us this was by far the biggest obstacle to finding a decent pair of earplugs. Although every earplug we tested came with at least two different tip sizes, many didn’t work for us. Some came with silicone tips that were too small for most of the panelists, while others had foam tips that slowly expanded and pushed the earplugs out of our ears.
Comfort: One of the biggest deterrents to using earplugs is the discomfort they cause. If you hate how they feel, you won’t wear them. Most of the pine-tree-shaped tips that we tested sealed out sound well, but they extended so deeply into the ear canal that they felt, as one panelist put it, “almost violating.”
Sound quality: If the earplugs muffle the sound too much, you’re less likely to wear them. If you need to take them out to have a conversation or hear the music clearly, you’re more likely to reposition them improperly and reduce their effectiveness.

As the resident audio experts, Brent and I also spent some time listening to music we know very well at maximum volume through over-ear headphones while wearing the earplugs. This process enabled us to separate out the specific sonic effect of each earplug and removed variables such as the EQ of speakers used at a club or the soundboard settings. Since we knew these tracks in detail, we could suss out the differences much more clearly.

In addition to doing the hands-on testing, we wanted to gauge the attenuation of each earplug in an objective way that took the human element out of the process. To measure the performance of the earplugs, we used the same equipment and techniques we commonly use to measure the performance of noise-cancelling headphones .

You can see the results in the chart below. The lower the line is on the chart, the more sound the earplug blocks. (We included a set of custom-made Microsonic earplugs for reference.) In a perfect world, the result for each pair of earplugs would look like the red dotted line: It would run straight across at the manufacturer’s stated reduction level.

A line graph showing earplug attenuation of six tested earplug models.

As you can see, despite all of the universal earplugs’ claims that they deliver even sound across all frequencies, it simply isn’t true. Not in our measurements, and not in our test panel’s experience—our personal notes corresponded closely to the TrueRTA data. The results are uneven, often with more reduction in the higher frequency ranges and less in the lower ranges.

This reality explains why many people think earplugs make everything sound muffled. If you lose the detail on higher frequencies where consonants, cymbal hits, and string plucks reside but still get a good amount of kick drum and bass notes reaching your ears, the imbalance will make music sound dampened.

The custom Microsonic earplugs performed much better, with far less of a dip in the female vocal and consonant range in comparison with the universal plugs. This is why we recommend that serious musicians or regular concert-goers invest in custom earplugs —they provide an all-around better experience.

However, for occasional use or for times when you don’t need to hear every detail, such as at a bar, football game, or spin class, everyone on our panel agreed that the sound was exceptionally better through the universal-fit musician earplugs than through foam earplugs.

The Loop Experience Earplugs are the only universal-fit earplugs that our entire panel said they would wear regularly. They are easy to pop in and take out, they fit a wide variety of ear canal sizes and shapes, and they are comfortable for longer wearing sessions. Plus, they stay in place through vigorous movement.

The Loop earplugs are comfortable, secure, and discreet. The tips are made of silicone and come in four sizes (XS, S, M, L), so our testers were all able to get a good fit. Because these earplugs don’t go exceptionally deep into the ear canal, settling them into place is a quick process. The circular outer piece stabilizes the earplug and makes it easy to get the earplug out of your ear once things quiet down.

Unlike our experience with other earplugs, which we had to readjust to prevent pinching or falling out, we almost never needed to fuss with the Loop pair during our wearing sessions.

Since the earplugs don’t extend out of your ear canal, they are less obtrusive visually and safer if someone bumps you in the head when you’re dancing or exercising.

The four silicone tip pairs and plastic carrying case from Loop Experience sit on a pink background, with a quarter next to them to gauge the size.

These earplugs strike a good balance between noise reduction and clear sound. Though the NRR of 8 dB was on the lower end of what we tested, we found that it allowed us to hear more of what’s going on, just at a safer dosage—which made this pair ideal for sporting events, workout classes, and occasional trips to loud clubs or concerts. But it won’t be sufficient if you’re in the front row of a rock festival for three days straight, or if you’re a professional death-metal drummer.

For more frequent exposure like that, we recommend a custom pair or at least our upgrade pick. The Loop Experience Plus package includes a "mute" that will increase the noise reduction by 5 dB, but we found the small piece of plastic to be tricky to manipulate and keep track of, especially in dark clubs.

As you can see in the measurement chart above, these earplugs have a serious volume dip in the range from 2 kHz to 8 kHz, which corresponds to the upper end of the female vocal range, cymbal hits, and plosive and fricative consonants (such as p,k,s, and t ). The reduced volume in this range gives the Loop pair a more muffled characteristic than custom earplugs produce—but when music is being amplified, it’s not as noticeable.

The biggest downfall of this sound profile is with unamplified music, such as when you’re listening to a small jazz band or talking to someone who is trying to compete with loud music. But because the overall reduction isn’t massive, this effect isn’t debilitating. I wore the Loop Experience Earplugs to various loud workout classes and was able to hear the instructor’s directions over the sound system, as well as to talk to classmates during partner drills, without removing them.

The Loop Earplugs have a fun look that’s edgy but not too obvious. They sit flush to the concha part of your ear and are virtually unnoticeable when someone faces you. From the side, they look almost like jewelry and currently come in seven colors. The small, round, plastic case is easy to stash into even the smallest pocket of your jeans or bag, so there’s no excuse for not taking them with you.

Flaws but not dealbreakers

They don’t pass all sound frequencies as evenly as custom earplugs will. This is true of all the universal-fit earplugs we tested. Until someone comes up with a better universal design that delivers better sound and comfort, you’ll need to pay significantly more money to get the best audio experience.

You will need to replace the tips regularly. For all of the universal-fit earplugs we tested, the manufacturer advice suggests that you replace them after around three to six months, depending on how frequently you use them. However, unlike many of the other brands, Loop requires only the replacement of the tips, which you can purchase separately for $15.

The Decibullz earplugs and the included eartips resting on a pink marbled surface.

For musicians on a budget or for people who consistently have trouble getting universal earbuds to fit properly, the Decibullz Professional High Fidelity Earplugs represent a good compromise between universal-fit and custom earplugs, since part of the design is molded to fit your ear shape. An NRR/SNR of 17 dB makes these earplugs a better choice than the Loop pair for active musicians who are noise-dosing themselves with hours-long rehearsals and concerts.

The Decibullz earplugs are semi-moldable. The design consists of three parts: the outer plug that houses the filter, the middle moldable stabilizing wing, and the inner tip (with six sets of tips included). To mold the wing, you need to place it into a cup of hot water until it softens, then remove it with a spoon and gently push it into your ear, smooshing it until it completely conforms to your outer ear shape. The process is a little like making a mouthguard for sports.

Once the earbud cools completely, it hardens, and unless you’ve messed up, you shouldn’t need to repeat the process. Our panel was split about fifty-fifty on how annoying this was to do, but we all agreed that it wasn’t something we’d want to spend time doing unless we used earplugs regularly.

Picture of the instructions for heating the Decibullz Professional High Fieldity earplugs.

The benefit of the Decibullz system is that it helps to reduce user error in fitting, as the wing essentially helps to seal off the ear canal in the event that the inner tip isn’t precisely the right size. This is great for folks who generally find themselves in between tip sizes. It also means that the Decibullz earplugs don’t shift at all in use, so you can rock as hard as you like and they aren’t going anywhere.

The improved noise reduction is good for musicians and frequent concert-goers. The higher NRR/SNR rating of 17 dB is better than that of most of the universal earplugs we tested, but these earplugs don’t overly muffle the sound (we can’t say the same about this pair’s less-expensive sibling ). As you can see in the measurement chart above, they still have the same dip in the highs that the other universal earplugs do, but our testers felt that these earplugs provided a slightly clearer, crisper sound than many of the competitors. Brent said that this was the only pair of non-custom earplugs he’d wear for music rehearsals.

The carrying case is larger than we’d like. It could fit in a larger jeans pocket, but it definitely isn’t as diminutive as the other universal earplug cases we saw. But since we mostly recommend these for musicians, we figure you can stow them with your gear.

The earplug design is more noticeable. Although we like that the ear pieces don’t protrude from the ear in a way that feels dangerous, they do fill up the concha of the ear fully—and since the pieces come only in black, people kinda can’t miss them when they view you from the side of your head. Whether this look fits your personal aesthetic or not is your call, but we personally think it’s overkill for casual users.

Muted Earmuffs for kids in a blue colorway with robots.

When it comes to safety, all the kids earmuffs we tested met the claimed NRR standards, so when used properly all of them will protect a child relatively equally. For our money, though, we’d choose the Muted Earmuffs for kiddos ages 18 months to tween. We really like their super-soft memory foam, their secure fit, their ability to fit a broad range of head sizes, and their sturdy-feeling build quality. Plus, the fun range of patterns and colors is appealing to young kids but stylish enough for tweens.

The Muted Earmuffs were the most comfortable kids earmuffs we tested. Many competitors had no padding on the headband at all, whereas these earmuffs have a nice layer of soft memory foam on the headband and earcups. The soft earpads also ensure that the earcups conform to the child’s face, which is important for sealing out noise.

The fit is secure but not too tight. A few of the options we tested squeezed so much that our test-panel preschooler refused to keep them on for long. These sit securely enough on the head that kids over 12 months can bop and dance without the earmuffs falling off, yet thanks to the memory foam, they remain comfortable for long-wearing sessions without causing a headache.

This pair can grow with a child. The earcups extend down and flex out, so they can fit a broad range of head sizes. Of course, how long they’ll fit your child will depend on the size of your child’s noggin, but we'd estimate that the Muted Earmuffs will last you into the tweens stage, if not longer.

The Muted Earmuffs, folded in on themselves.

The noise reduction is excellent. These earmuffs are rated to 27 dB and meet ANSI requirements, so they will work not only at concerts but also around lawn mowers, sporting events, fireworks, car engines, or any sound your child dislikes. They are also a fantastic option for kids who need some auditory sensory reduction to help them focus or to calm their bodies in stressful situations.

Muted backs them with a 30-day, no-questions-asked return policy, as well as with an impressive lifetime build warranty—so you can feel comfortable taking them anywhere and using them for all sorts of activities.

the ems for kids infact earmuffs. the cups are white with a yellow and white floral band.

When you’re choosing hearing protection for babies, it’s important that the earcups completely seal against their face, or else the noise reduction will be compromised. Many kid-size earmuffs may be too large for infant-size heads, leaving a gap either above or below the ear. That’s why we recommend the Ems for Kids Baby Earmuffs for kiddos 18 months and younger.

The smaller earcups seal around diminutive ears and noggins to keep noise out. The Baby Earmuffs are rated to 27 dB and meet ANSI standards, so you can use them as protection in any loud situation, from airplanes to X-Games.

The design and fit are ideal for infants. The soft, stretchy, adjustable headband strap will make sure that the earmuffs stay snug without squeezing delicate craniums. Infants will be able to nap while wearing them (although for safety, we advise allowing this only with adult supervision), and because the flat strap is a little trickier to grab, older babies will have a tougher time yanking these off compared with firm-headband earmuffs. Not only is the strap stretchy, but it also connects with Velcro, so you can adjust it as your little one grows.

The earcup padding is supple, and the vinyl-like material that covers it is smooth, so it shouldn’t irritate delicate skin. The earcups are made of durable-feeling plastic, and they slide on and off the strap, so caregivers can precisely adjust positioning as well as wash the headband after a mishap. You should wipe the earcups clean with a damp cloth.

These earmuffs are covered by a 12-month warranty, and you can get a replacement headband separately from the earcups for $6 if it gets lost or damaged over time.

If you prefer a less-noticeable earplug than the Loop: EarPeace’s Music Pro performed very well in our tests. The Music Pro is available in ratings of 16, 19, or 24. (EarPeace also sells a limited-edition earplug in partnership with NPR Tiny Desk Concerts: The NPR Music is exactly the same as the Pro aside from the noise reduction rating: The NPR Music’s NRR is 20.) The body of the plug is made of a super-soft, malleable silicone in a double-flange style that our panelists found more comfortable than most pine-tree-shaped earplugs.

The noise reduction was also a favorite, with results similar to the Loop: High frequencies were diminished, but not so muffled that one couldn’t discern consonants on vocals. People who wear earplugs in impact-risky situations (like a mosh pit) will appreciate the way the EarPeace plugs sit flush to the ear canal, in addition to the flexible pull-tab that’s less likely to snag or jam into your ear if you’re bumped by someone.

But the EarPeace package contains only two sizes of tips (standard and small), so folks with very large ear canals may not like how deep the earplugs need to go into the ear to get a seal. We also found that the small pull-tab could be difficult to hold for folks with larger fingers, dexterity issues, or after a cocktail. It’s this ease-of-use factor that kept the EarPeace plugs from the top spot, but these are still excellent.

a set of custom earplugs on a pick marbled background.

If you enjoy frequent concerts or if you perform and rehearse in loud settings, you really should invest in custom earplugs. Although we understand the appeal of inexpensive universal earplugs, their uneven attenuation and lower NRR are not ideal for serious performers or for music lovers who go to concerts all the time.

Custom earplugs are made to your precise ear shape by professionals, with the level of NRR that you need for your lifestyle. They reduce the volume far more evenly across all frequency ranges and, at $200 to $300, cost less than a single music-festival ticket. Plus, they can last many years, as long as you keep them clean, don’t lose them, and don’t gain or drop a significant amount of weight.

The first step in getting custom earplugs is to find an audiologist, ideally one who specializes in working with musicians. Look for one who is listed by custom-earplug manufacturers (such as Sensaphonics or Microsonic ) as being certified. Ask ahead of time if their price includes impressions, earplugs and filters, and fitting and alterations. On rare occasions, mistakes in the impression or manufacturing process may mean you’ll need to have the shape of the earplug tweaked a bit, and you’ll need to know how much time you have to come back to fix issues.

a person being fitted for custom earplugs.

The impression process can involve a few different methods (including lasers), but the traditional one involves brightly colored goo. The audiologist puts a cotton block in your ear to protect your eardrum and then uses a syringe to slowly fill the ear canal with the impression material (see the photo above). Once the goo hardens, they remove the impressions and either 3D-scan them or ship them off to the place where your earplugs will be made.

You also need to choose which filters you want. Our experts recommend that you speak with your audiologist about where and when you’ll be using your earplugs so that they can help you select the filter with the correct amount of decibel reduction. Most filters come in 9 dB, 15 dB, and 25 dB levels. Generally, you choose one filter level to start, but many custom earplugs have interchangeable filters, so you can purchase additional sets down the line if you find yourself needing more or less protection.

Custom earplugs offer a massive difference in sound quality compared with solid-foam or universal-fit musician earplugs. As you can see in our measurement chart above, in our tests the reduction was far more even across all frequency ranges with the custom Microsonic earplugs, which means you’d still hear every sound, just reduced in volume. The effect is a little like putting on color-tinted sunglasses: At first, everything looks shaded in pink or yellow, but after a few minutes, as your brain adjusts to the shift, you don’t even notice that tint anymore.

Unlike universal plugs, which degrade and need to be replaced every three to six months, custom earplugs are designed to last significantly longer, as long as you treat them well. Talk to your doctor about your custom earplugs’ lifespan and follow the manufacturer’s instructions on cleaning; be sure to store them away from extreme heat or cold to help with longevity.

The sole caveat is if you lose or gain a significant amount of weight and the change alters the shape of your ear canal—in this case you may need to get new impressions made. Otherwise, the only other reason you might need a new pair is due to abuse or misplacement.

If you do lose your custom pair, many earplug manufacturers keep digital scans of your impressions on file, so if your impression was relatively recent, you likely won’t need to pay to get a new mold made; you will need to pay only for the earplugs themselves.

There are several new sets of concert earplugs and earmuffs that we plan to test.

For adults, the D’Addario dBud earplugs have two levels of attenuation (-11 dB and -24 dB) that are controlled via a slider. The pair comes with a carrying case, a leash, and five pairs of silicone eartips. The JLab JBuds Protect earplugs use twisting nodes that you can set to “open” or “close.” They also offer two noise-reduction levels (-11 dB and -22 dB), five sets of eartips, and a carrying case. The Loop Switch offers 17 to 25 dB of reduction and three preset modes (Engage, Experience, and Quiet) to choose from, based on your environment. Finally, the Earpeace Sport Pro earplugs are specifically designed for stadium sporting events and include a set of 27-dB filters, a carrying case, and a connecting cord.

For kids, the JLab JBuddies Protect earmuffs have an adjustable, padded headband and Cloud foam earcups. This foldable pair is ANSI S3.19 certified and has a 23-dB NRR, as well as a lifetime warranty. The Onanoff BuddyPhones Guardian earmuffs are designed for toddlers and small children. They feature passive noise cancellation with 26 dB of noise reduction, and have a cushioned headband with foam earcups.

Universal earplugs

Decibullz’s High Fidelity Earplugs are the less-expensive version of our upgrade pick , and they use the same molding process to nearly guarantee a good fit and seal. However, the attenuation on this pair is too high, which in our testing produced a very muffled listening experience.

Dekoni’s Audio Earplugz weren’t a favorite because, as the foam tips expanded, they slowly pushed the earplugs out of our testers’ ears. We also didn’t like the way the hard plastic stem extended out of the ear canal. The stem transfers sound, so if you bump it with your hand, it’s very loud. Plus, depending on the way your outer ear is shaped, the stem may be uncomfortable, similar to the experience we had with the Etymotic earplugs.

Eargasm’s High Fidelity Earplugs were among the better-sounding universal earplugs that we tested, with slightly more-even attenuation than we got from our top pick, the Loop pair. However, our panel found the pine-tree-shaped plugs to be uncomfortable to wear, as they extended deeper into the ear canal, often chafing or pinching. Additionally, the small removal tab was tricky to grab if it slipped behind the tragus part of the ear.

The Earos One earplugs offered sound reduction that’s similar in characteristic to the Loop’s, providing volume reduction without too much of a muffled quality. The stabilizing wings make these earplugs feel as though they’ll stay in place regardless of your movement. However, Earos only provides two sizes of tips, so folks with very large or small ear canals run a higher risk of not getting a proper fit. The largest tip was not broad enough in diameter for one of our panelists to get a seal. For the panelists who got a good fit, the Earos One’s pine-tree shape felt rather invasive and was uncomfortable enough that they said they wouldn’t wear these earplugs regularly.

Etymotic has put a lot of research into its filters and also makes some of the filters used in custom earplugs, so we had high hopes for the ER20XS Universal Fit Earplugs . But the sound was muffled, the tips were difficult to interchange, the tree-shaped tips were uncomfortable, and the foam gradually expanded and pushed the earplugs out of our ears. Plus, the removal pull tabs are made of a stiff plastic that annoyed one panelist so much that they removed the tabs completely.

The IsoTunes Free earplugs are actually true wireless earbuds that double as hearing protection, and we talk about them in our guide to the best wireless Bluetooth earbuds . But we figured it was worth mentioning them here since people may be looking for earplugs that also allow you to listen to music. Sadly, although this pair had some good ideas, they don’t stay in your ears securely enough.

Loop’s Experience Plus is a package deal that includes everything from the Loop Experience Earplugs box, plus three sizes of foam eartips and a pair of Loop mutes, which Loop says will increase the sound reduction by 5 dB. While we like the foam tips as an option, the mutes weren’t our panel’s favorite tool, as the tiny plastic circles are very easy to lose when you pop them in and out of the earplugs. That said, if you know you’ll always need that extra 5 dB of reduction, or you prefer foam tips, the Experience Plus is a good buy.

Mack’s Hear Plugs didn’t seal for our panelists with larger ear canals, but the panelists with medium- and smaller-size ear canals found that the material made this pair the most comfortable to wear of all the pine-tree-shaped earplugs. However, low notes lacked clarity and almost sounded as though they reverberated in our ear canal, and even with the pull tabs, these were tricky to remove from our ears.

Minuendo’s Lossless Earplugs are a very clever idea that isn’t implemented in an ideal manner. A small slider on the side of the earplug changes the amount of reduction in a meaningful way, and our panel found the sonic clarity through these earplugs to be on par with the best we tested. However, the slider is very small and hard to manipulate when you’re wearing the earplug, especially for folks with larger hands or dexterity issues, which means you’re less likely to use the very feature that makes these worth purchasing. We hope Minuendo updates the design because, with a little tweaking, these could end up being a top pick.

Despite having three different tip sizes, the Vibes Hi-Fi Earplugs presented fit problems. When we put them in our ears at the depth we thought was appropriate, the Vibes earplugs didn’t seal completely for three of our four panelists. The one exception was a young woman with small ear canals, and she liked the Vibes sound. The rest of us couldn’t evaluate the sound adequately because of the poor seal. We also weren’t fans of the plastic tube that extended out from the ear canal, as we feared it could be bumped during dancing or workouts and cause injury.

The Westone Tru Universal WR20 earplugs didn’t fit most of our panelists properly, despite coming with two sizes of tips. The one panelist who did get a seal said they were unable to hear consonants on words, and even acoustic guitars sounded muffled.

Kids and baby earmuffs

The Banz Baby earmuffs have a rigid headband with a much looser fit than you might expect for infants. Although these earmuffs won’t squeeze your nugget’s head, this looser design unfortunately also makes them very easy for littles to pull off. The headband and earpad foam is pretty soft, although not as supple as on our Ems pick. If you do purchase these earmuffs, be sure to do so from an authorized Amazon seller, as Banz will honor warranty claims only from shops the company has approved.

Although the Banz Kids earmuffs have padding on the headband and earcups, it’s not as soft as that of the Muted Earmuffs . What we especially didn’t like was the very strong clamping force on this pair. One of our preschool panelists, pulling them off, remarked, “Ow.”

The Ems for Kids Earmuffs feel very sturdy, and you can buy an optional hard-sided carry case, but the padding isn’t nearly as soft as that of the Muted Earmuffs, and they don’t come in fun patterns.

Although the Vic Firth Kidphones were lightweight and had the second most supple padding on the earcups in our test group, they felt very cheaply made. The connection between the earcup and headband looked like it could snap if stepped on, and adjusting this pair’s size took more effort than on the competition.

Josh Rogosin, Tiny Tech Tips: Why You Need Earplugs At Concerts , NPR , March 12, 2019

Choose The Hearing Protection That’s Right For You , National Institute for Occupational Safety and Health , August 15, 2013

Gregory A. Flamme, et al., Typical noise exposure in daily life , International Journal of Audiology , January 23, 2012

Meet your guide

Lauren Dragan

Lauren Dragan is a senior staff writer and has tested nearly 2,000 headphones for Wirecutter. She has a BA from Ithaca College in music performance and audio production. She’s been featured in Good Morning America, NBC Nightly News , The New York Times, and more. Additionally, she’s a voice actor whose work includes projects for Disney and Mattel.

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The Harvard University Visitor Center offers several different types of tours. For our in person tour offerings on campus, we provide the Official Historical Tour of Harvard. All tours are provided to the public for free and to private groups for a fee. Our tours typically run 45-60 minutes.

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The Best Concert Earplugs for Protecting Your Hearing

Enjoy your favorite live music without sacrificing comfort or safety.

vibes high fidelity earplugs, invisible ear plugs

Gear-obsessed editors choose every product we review. We may earn commission if you buy from a link. Why Trust Us?

The Best Concert Earplugs

Best Overall: Loop Experience Concert Earplugs
Best Budget: Vibes High-Fidelity Earplugs
Best Disposable: 3M Safety Disposable Earplugs
Best Custom Molded: Decibullz Custom Molded Earplugs
Best for Kids: Alpine Hearing Protection Kids' Earplugs

What to Consider

"As you start to get into the higher intensities of volume, one decibel starts to matter more than it does in the lower frequencies," says Dr. Douglas M. Hildrew, M.D, an Otology, Neurotology and Skull Base SurgeryMedical Director of the Yale Hearing and Balance Program. "The noise floor of your average room, say in your house in a rural environment, would be somewhere between 30 and 50 decibels. If you are in an urban environment, like New York City, around 85 decibels is the sound of traffic. Concerts usually come in between 100 and 120 decibels."

The next thing to think about is how long you are exposed to a particular sound, and how loud it is. "Say something is playing at like, 90 decibels. You can listen to 90 decibels, even without hearing protection, for almost eight hours without causing any damage," Hidrew tells us. "If you go from 90 to 95 decibels, just a 5 decibel change, you've dramatically cut that time in half from eight hours to four hours."

If you think about the average noise level of a concert, and the length of the show, you are very limited to the amount of listening time your ears can withstand before causing damage like long-term hearing loss or tinnitus. But with concert ear plugs, you can enjoy louder environments comfortably while knowing your hearing is safe.

Noise Reduction Rating

The Noise Reduction Rating, or NRR, measures the effectiveness of a hearing protection device. It describes the average sound level reduction (attenuation), and most products have this number listed in decibels. Concert earplugs can block anywhere from 10 to 35 dB of noise. Depending on the type of show you're attending, and the level of noise that you want filtered, take a look at the earplugs NRR number. The higher the rating, the more your hearing will be protected. Most of our selections on this list are in the 18-32 decibel range.

Sound Quality

Look for concert earplugs that are designed to maintain the clarity of your favorite music while reducing the overall volume. More specifically, shop for pairs that are high-fidelity, like our best overall pick from Loop. These earplugs use a combination of an acoustic channel, a filter, and a membrane to prevent the distortion of sound. High-fidelity earplugs will allow you to enjoy tunes without feeling like the noise is muffled.

Most people are familiar with foam earplugs, since they can be used to block other loud noises like construction work, the roaring of a plane engine, or your spouse's snoring. Hildrew says to keep in mind that since they aren't designed with filters, they will alter sound quality. They're a great option if you're in a pinch, but they don't offer much variety in attenuation, and can be uncomfortable and stiff.

Silicone earplugs are reusable, affordable, and usually have the high-fidelity filters we mentioned above. They can also come with interchangeable heads, so you can find a more comfortable fit for your ear canal.

Custom molded earplugs are tailored to your specific ear shape, and are commonly used amongst musicians. They will be more expensive, but they are the most customizable.

We suggest finding earplugs that evenly reduce noise levels across frequencies, so that you can hear conversations while enjoying your favorite tunes at a less harmful volume.

The best concert earplugs will be the ones that are the most comfortable for you to wear for extended periods of time, especially if you're a regular at multi-day music festivals. Look for earplugs that are made with soft, moldable materials that fit snugly into your ear without causing pain.

Some are designed to be inserted deep into your ear canal, while others sit more shallowly around the outer edge, so find a pair that feels secure even while you're headbanging.

How We Selected

We spoke with an expert to gain a better understanding of the importance of protecting your hearing, how extended exposure to loud noises can affect your hearing, and what concert earplugs can do to prevent future damage. We evaluated each product based on its noise-reduction abilities, design, comfort, and price, selecting earplugs that are comfortable, convenient, and cost-effective. We spoke with editors and included options that we have hands-on experience with, and for the styles we haven't gotten a chance to test, we scoured user reviews and researched top contenders based on the same criteria listed above. We've settled on the following list of the best concert ear plugs to keep you jamming all night long.

For more great ways to drown out the din, check out our picks for the best hearing protection options for home and DIY projects , the best noise-canceling headphones , and the best bone conduction headphones .

Loop Experience Concert Earplugs

Loop Earplugs are a favorite among concert-goers and our staff, thanks to their comfortable, stylish, and high-fidelity design. The earplugs have an NRR of 18 decibels, so you'll get moderate noise reduction without blocking out the sound of conversations nearby.

Four ear tip sizes come included, as well as a convenient carrying case that you can store in your pocket or hydration pack. The earplugs come in a variety of colors, which is a nice touch considering they're still very visible when you're wearing them.

Senior Service Editor, Melanie Yates, likes that these earplugs sit closer to the outer ear rather than deeper inside your ear canal.

"I like that these earplugs feel just like wearing regular earbuds — they don’t burrow deeply into my ears or create uncomfortable suction. While they may not be able to cancel out the loudest bass, they do take the edge off noisy concert environments, so you can enjoy the music and still hear your friends next to you."

VIBES High-Fidelity Earplugs

I love that Vibes High-Fidelity earplugs are designed to be extremely discreet—so much so that most people won’t even realize you’re wearing them, thanks to the transparent outer tube.

The earplugs are structured with an acoustic sound chamber, which enhances music clarity, an acoustic filter for preserving high-fidelity sounds, and silicone tips for a more comfortable wear. The case is small and compact, but is still big enough to fit another set or two of silicone earpieces, in case you need to adjust.

The earplugs do a pretty decent job of dulling sounds without muffling conversations, and they have an NRR of 21 decibels. I've worn them to several raves, and found that I was still able to hear everything around me, just at a more tolerable volume. I didn't feel like I had to constantly remove the earplugs to get the same concert and social experience.

The main downside she found is that the sound tube is fairly small, which can sometimes make these earplugs harder to remove.

3M Safety Disposable Earplugs

For those who don’t go to concerts frequently, the 3M Disposable Earplugs are an inexpensive and quick-fix method for dulling louder noises. They are capable of blocking out up to 32 decibels of sound, and they’re made from a soft foam that expands in your ear, conforming to the shape of your ear canal for a tight seal.

Note that since these are foam, they don't offer any kind of noise filtration system, so music will likely sound muffled and lose its quality. But they're an affordable and convenient back-up, and you can just toss the pair once you leave the event.

Decibullz Custom Molded Earplugs

If you’ve found that most earplugs are uncomfortable to wear because they're limited in size and customization, then you may want to try the Decibullz Custom Molded Earplugs. They are made from thermoplastic, so you can warm up the molds in boiling water and once they have cooled down enough, you can shape them to fit your ear exactly.

The earplugs reduce noise levels by 31 decibels, and they are reusable. Some reviewers mention that the molding process can be a bit tricky, but you get endless tries since the thermoplastic can be melted more than once.

Alpine Hearing Protection Kids' Concert Earplugs

You can protect your children’s hearing at concerts with these Alpine Pluggies earplugs. They're made for children between the ages of 5 and 12, but they can also be used by adults with smaller ear canals. They have a noise-reduction rating of 25 decibels, and the earplugs are made from the brand’s signature hypoallergenic material.

In addition to being useful in noisy environments, these earplugs can also be an ideal option for swimming, since they're waterproof.

Eargasm Earplugs for Concerts

Eargasm earplugs are popular with the musician crowd, and for good reason. They're reusable, discreet, and made with soft silicone so you can wear them for hours on end.

The three-flange style of these earplugs is intended to create a secure pressure seal to keep them intact (which can feel a little odd the first few times you wear). They filter up to 21 decibels of noise, and the pack comes with two different sizes so you can find the best fit. The storage case is made with aluminum, so it's very durable and can handle some dings.

The earplugs are a reliable choice for our Commerce Photo Editor, Dustin Fenstermacher. "I've played many a DIY show, attended incredibly bass heavy dance parties, zoned out at ambient sound installations, and attended concerts ranging from soft spoken to abrasive noise rock," he says. "Unlike the ubiquitous orange earplugs, Eargasm protects from hearing loss without sacrificing the high and low ends of sound. It doesn't feel like they're listening to music underwater in the deep end of a pool."

EarPeace Concert Ear Plugs

The earplugs from EarPeace come with three different high-fidelity filter sets, from 17 to 26 decibels of noise reduction, which can come in handy depending on the environment that you're in. Maybe the "max" filter is suitable for all your favorite concerts, but blocks out too much sound when you're in a smaller group setting.

They're made with reusable silicone, and come in a dual-chamber carrying case so you can access the earplugs from either end of the storage container.

The structure is similar to Eargasm, so you'll get a secure suction-type seal when wearing, and there is a small pull tab for easy removal.

Amber is the Digital Content Producer for Popular Mechanics, Runner's World and Bicycling, where she covers a range of tasks for the commerce team. She also writes fashion and beauty content for Best Products. Her work has been featured across all of the Enthusiast Group sites. In her free time you can likely find her watching horror movies, reading a good thriller book, or listening to a comedy podcast.

Camryn Rabideau is a freelance writer and product reviewer specializing in home, kitchen, and pet products. In her four years as a product tester, she's tested hundreds of items firsthand, and her work appears in publications such as Forbes, USA Today, The Spruce, Food52, and more.

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Easy + Fun Taylor Swift Eras Outfits - What To Wear To Tour

This post may contain affiliate links that grant me a small commission at no extra cost to you.

Taylor Swift's brand new "The Eras" tour will be hitting stadiums in 2023 - here's exactly what to wear to the concert.

Taylor Swift's "The Eras" tour is kicking off in March 2023, and lucky concert-goers are already trying to figure out the perfect outfit to wear to honor one of Taylor's many musical eras.

"The Eras" U.S. tour will begin on March 17, 2023 and end on August 9th, 2023 . When tour starts it will have been around 5 years and 4 new albums (not including the re-recordings of her original songs) since Taylor's last tour, Reputation. That means there's lots of material to include, so Taylor's decision to dedicate a tour to all of her musical eras seems like a great idea! It's probably one of the many reasons the tour has completely sold out!

If you're one of the lucky ones going to the show, or you just want to participate in all the fun, we'll discuss Taylor's most memorable eras and exactly how to dress like Taylor Swift for the upcoming concert.

This post is all about taylor swift eras outfits.

What are taylor swift's eras.

Taylor Swift's eras are generally distinguished by each of her 10 studio albums:

Taylor Swift (Debut)

"The Eras" tour will feature all of Taylor's musical eras. So far, she has released 10 studio albums (and 2 re-records of previous albums). She even announced the release of Speak Now (Taylor's Version) at one of her recent shows!

My sister, mom, and I have been Taylor Swift fans for a really long time. I remember when she very first started gaining traction, she came to my small town and performed Tim McGraw at our Christmas tree lighting. As a matter of fact, she was so new to the scene that we all were initially bummed because we thought the winner of American Idol was coming to town - Taylor Hicks! How funny.

It's been a crazy journey watching her grow. I remember when my sister and I would listen to her debut album in our CD player over and over. And Our Song being played at our middle school dance. And blasting Red in the car on the way to high school every day. And having 1989 as the soundtrack to my freshman year of college. And so on and so on!

So after being fans for so many years you would think we would have been to one of her many tours. Well, the truth is, we just never were able to make it/get tickets/etc. Life got in the way. So when she announced her "The Eras" tour, it only seemed appropriate we go to make up for all those years before - and try to get tickets to one of the hardest shows ever to get tickets for - one of the most coveted events of next year. Yikes.

Cut to all three of us desperately trying to get tickets on pre-sale day. No luck after waiting all day in queue. We decided to give it one more go during the Capital One pre-sale. All three of us logged in again and our mom somehow got through! We got our 3 tickets and got out of there! It was seriously all luck.

We are all super excited to go to the concert, and we know how lucky we are to be able to go. We want to go all out when it comes to our outfits because this is a once-in-a-lifetime thing! For those of you who didn't get tickets, believe me, we were almost there too. If you can't make it, throw your own concert party and have everyone dress up as a different Taylor Swift era. That's what we would do for sure.

Let's talk about Taylor's eras.

Taylor's debut album, "Taylor Swift" has smash hits like Teardrops on My Guitar, Tim McGraw, and Our Song. It has strong country influence and lyrical themes like adolescent love and relationships. Debut is a super nostalgic era for many, as it was the very beginning of Taylor Swift's musical journey. In this era, Taylor wore her hair in her natural curls, dresses, and cowgirl boots a lot.

This is probably one of her most "country" albums as Taylor eventually started to gain more pop influence in her songs over the years. Debut would be a great era to represent at "The Eras" tour because it's an iconic throwback - you'll be paying homage to the album that started it all.

Fringe country

On her first tour, Taylor was seen wearing a lot of sparkly fringe dresses with cowgirl boots; it was the perfect combination between glitz and country.

Gold fringe outfit

Buy on Amazon

Cowgirl boots.

Our Song black look

In the Our Song music video, Taylor is seen wearing an iconic black look with a black headband and black gloves. It is actually kind of reminiscent of Maddy's black look from Euphoria now that I'm looking at it!

Black halter dress

Black gloves

Black headband

Black cowgirl boots

2. Fearless

Taylor's next album was Fearless, and it came out in 2008. It was similar to Debut in that it was a country album, but there was definitely some more pop influence. This album had songs like You Belong With Me, Fearless, and Love Story. It continued to explore young hopes and dreams as well as love.

I like to think of the Fearless era as more strong and confident than Debut. It's sort of like Debut but with more glitter. The Fearless Tour covered both Taylor's Fearless and Debut albums, so a lot of the tour had one overarching theme. That's why Fearless and Debut are often seen as related.

The tone of the album is also very much influenced by fairytales and romance.

You Belong With Me music video

This look is instantly recognizable. Everyone knows the imagery of the "Junior Jewels" signed t-shirt and the glasses. You can even make your own sign and make it look just like the music video!

White t-shirt

T-shirt markers

Black glasses

Flannel PJ pants

Spiral notebook

Black Sharpie

Love Story is a song with such great storytelling. Pretend you're a princess in a castle with an intricate up-do and a pretty corset.

Cream corset

Beige skirt

Draped necklace

3. Speak Now

Speak Now was Taylor's third studio album. It was released in 2010, following the large success of Fearless. It explored more mature themes of heartbreak, confusion, and reflecting on past loves. The album was inspired by all the things unsaid in her past relationships.

Speak Now also touched on some of Taylor's experiences in the spotlight as well as relationships with celebrities she was reported to have been dating at the time.

This era is a mix of the enchanted themes of Fearless and a more grown-up attitude. It has a lot of Taylor's original heartfelt storytelling with a little bit of a defined edge.

Mean music video

Taylor's song Mean was super relatable for anyone who has ever felt that they didn't fit in or were being made fun of. Her music video look is definitely recognizable with her white peasant dress, mary janes, red lipstick, and big banjo! Keep in mind that you might not be able to bring a banjo to the concert venue...

White dress

White mary janes

Red lipstick

Purple halter dress

If you look at pictures from the Speak Now Tour, Taylor wore a purple halter dress with a ponytail and red lipstick. True Taylor fans know that to complete the look, you should draw a big "13" on your hand. It was something she put on for each of her shows.

Purple dress

Teal marker

Teal glitter

The Red album was released in October of 2012. It features songs like All Too Well, Red, We Are Never Getting Back Together, and I Knew You Were Trouble. The album focuses on unhealthy relationships, true heartbreak, and growing up.

This era is often associated with fall as a lot of the imagery in the songs along with the album being released in the fall makes listeners feel like playing the album in autumn. It is also regarded as Taylor's heartbreak era because the songs about the end of relationships are particularly powerful on this album.

Ringleader costume

One of Taylor's most popular outfits from the Red Tour was her red ringleader outfit. This would be super easy to do - and it's totally iconic.

Circus costume

Black boots

Fake microphone

Red rhinestones

Everyone knows that one of the best breakup songs of all time is All Too Well. And with Taylor's recent re-recording of the Red album, we got the full 10 minute version of the song. It was everything we could have wanted and more!

Wear a red scarf to represent all things innocence and young love.

Chunky scarf

Pageboy hat

Black and white striped shirt

1989 is Taylor Swift's fifth studio album. It was released in late October 2014 and is generally considered a full foray into pop music. 1989 had songs like Blank Space, Bad Blood, and Shake It Off. It was a commercial success and was followed by the 1989 World Tour.

The 1989 era is very much influenced by a lighthearted pop feeling. The songs were more tongue-in-cheek which was a huge departure from the heartfelt Red.

On tour, Taylor wore a bedazzled white crop top set with matching shorts. It was paired with thigh-high black boots and Taylor's signature red lip.

White crop top

White shorts

6. Reputation

Reputation was released in 2017. It was a direct response to public scrutiny and speculation about Taylor Swift's life over the years. The music and imagery was a lot darker with snakes and other villain-like motifs.

This era is generally regarded as Taylor's "villain" era. In many songs she expresses her feelings about being judged and scrutinized endlessly by the media as well as learning to be unapologetic about one's life and actions.

Black hoodie

One of Taylor's most iconic outfits from her Reputation Tour was her sparkly black leotard with a hood attached and thigh-high black boots. This one is super easy to recreate with stuff you already have at home!

Black onesie

Black fishnets

Lace up boots

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Lover is Taylor Swift's 7th studio album. It featured songs like Lover, You Need To Calm Down, Me!, and The Man. The album was a departure from the darker themes of Reputation.

The Lover aesthetic is largely rainbow-colored/pastel with hearts imagery. It is a lot lighter than Reputation in both coloring and theme.

Rainbow heart

I think it would be super cute to recreate the Lover album artwork. It features Taylor looking down on a pastel sky background, wearing a pink glitter heart over one eye.

Pastel hoodie

Pink eyeliner pencil

Pink glitter

8. Folklore

Folklore was surprise released in 2020. After the tour for her Lover album was canceled, she released the album with no prior promotion. She explored various characters and stories in the songs on Folklore and allowed herself to be creative lyrically without pressure to change any words for radio playability.

This era is generally regarded as her "cottagecore" era. The imagery is very natural and woodsy.

One of the songs that many Swifties relate to on the album is Mirrorball. This would be the perfect sparkly outfit to wear to the concert!

Silver dress

Silver boots

Silver glitter eyeshadow

9. Evermore

Evermore was released in December 2020. Folklore and Evermore are considered sister albums for their similar aesthetic and style as well as how closely in time they were released.

Evermore is also regarded as an extension of Folklore. Taylor continued to explore the challenges and triumphs of fictional characters, which earned her the approval of many critics and listeners alike.

Gold Rush is a song on the Evermore album. I think it would be really cool to wear all gold to pay homage to the song.

Gold earrings

Cowboy Like Me

For Cowboy Like Me (another song on the album), you can dress as a cowgirl. This would also be a cool tribute to Taylor's Debut era.

Suede skirt

Star earrings

10. Midnights

Midnights was Taylor's most recent release. It has received widespread acclaim by critics and broken many World Records for 2022 in terms of sales and streaming.

Midnights has a darker, pop feel to it. It explores the topic of self hatred, anxiety, and insecurity, but also hope, love, and longing. The imagery is largely dark blue and some of the promo shots even have a slight 70s feel to them.

Bejeweled is a popular song on the Midnights album - and it's super easy to wear something sparkly that will be instantly recognized for this reference.

Black corset onesie

Jeweled choker

Lavender Haze

I think Lavender Haze is another song that is pretty universally liked on the Midnights album. Deck yourself out in a full lavender outfit so you can tell everyone you are the Lavender Haze.

Lavender suit

Lavender hair pins

Lavender slingbacks

Taylor's career spans over 15 years; there are so many amazing Eras outfit ideas since there are so many amazing songs, albums, and tours to reference! I hope this post got you brainstorming about some of Taylor's most iconic moments.

Let me know what you're wearing to "The Eras" tour and which show you will be attending!

This post was all about different taylor swift eras.

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Hundreds evacuated from historic New Hampshire performance center mid-concert due to raging fire

Hundreds of concert-goers had to be evacuated from a historic New Hampshire performance center after a fire spread from nearby businesses and threatened to engulf the venue Saturday night.

Members of Plymouth Fire Rescue responded to Main Street around 9:10 p.m. for a fire at the former Peppercorn Natural Food Store and Downtown Pizza. Around 450 patrons at the Flying Monkey Performance Center for a concert had to be rushed out of the building.

Neither of the engulfed buildings were occupied at the time of the fire.

One Plymouth firefighter suffered a shoulder injury and was taken to Speare Memorial Hospital.

“Containing the fire proved to be a challenge due to the proximity of the buildings, as well as the fact that one building had multiple ceilings, and roof structures that had to be accessed. As the fire progressed in these void spaces, fire personnel were evacuated from the building and a defensive operation ensued,” Plymouth Fire Rescue said in a press release.

The Flying Monkey hosted a show by Foreigners Journey featuring special guest Constantine Maroulis, according to the Flying Monkey’s calendar.

Crews from Ashland, Bristol, Campton-Thornton, Waterville Valley, Holderness, New Hampton, Bridgewater, Hebron, Center Harbor, Meredith, Tilton-Northfield, Sanbornton, Rumney, Warren, Wentworth, and Woodstock also responded to the fire. The Lincoln FD, Stewarts Ambulance Service and Canann FD provided coverage.

The cause of the fire is under investigation by Plymouth Fire-Rescue and the New Hampshire State Fire Marshals Office.

“The fire companies are to be commended for holding this fire to the two buildings involved. The Manager of the Flying Monkey is also to be commended for discovering the fire, activating the fire alarm system at that location and notifying 911.” Plymouth Fire Chief Tom Morrison said in a statement.

“The Flying Monkey has been at the heart of historic Plymouth, New Hampshire since it opened as the “New Plymouth Theater” back in the 1920′s as a vaudeville and silent film theatre,” the building’s website reads. “After years of closure and falling into disrepair, The Common Man family in New Hampshire purchased and carefully renovated the theater in 2010, re-launching it as The Flying Monkey Movie House & Performance Center.”

This is a developing story. Check back for updates as more information becomes available.

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The lil yachty walkout meme using ai that's taking over the sports world, explained, share this article.

You may have seen the meme that’s going around showing someone — whether it’s the Joker or New York Knick head coach Tom Thibodeau and so on — coming out from backstage to a giant crowd of concert goers before igniting them with a fiery performance.

Wondering where it’s from? I did, and I figured it out!

It’s a video of Lil Yachty walking out on to a long stage and going OFF, and it’s amazing to watch the crowd react.

People are now using AI to put those aforementioned stars in the video, and it’s become a whole meme.

Here’s the original:

And the memes:

“Lil Yachty and Larry David with the HARDEST walk out EVER” thx larry thx @ViggleAI pic.twitter.com/Oc8Cbgnnsf — haprojector (@haprojectorx) April 11, 2024

Walk Out Lil Yachty X Dancing $BABY 🕺👶 pic.twitter.com/80rxOn8Two — Dancing $BABY – First Meme 1996 (@dbabyeth) April 13, 2024

ROMAN MEME 398 : roman with lil yachty's stage entrance pic.twitter.com/Ydkxccp4NU — ROMAN REACTION MEMES (@romanreactmemes) April 13, 2024

New AI (viggle) tool replaced Lil Yachty with Joaquin Phoenix’s Joker Deep fakes will be crazy in a year from now. pic.twitter.com/671JZcXhhO — The Meme Merchant (@Meme_Merchant) April 10, 2024

When you’re up 30 with 7 minutes left so you call Jalen Brunson’s up off the bench pic.twitter.com/ImYtczkNct — B.W. Carlin (@BaileyCarlin) April 12, 2024

We finally get a Healthy Playoff Embiid🙏 pic.twitter.com/XKBht0ux6n — CBain (@cbain100) April 14, 2024

Kambwala, Garnizzy and Mainoo kick ball tomorrow. pic.twitter.com/6GKegRBYsh — Deng™ (@UTDDengv2) April 12, 2024

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Harbour Town Golf Links just one gem in golf-rich state of South Carolina

Harbour Town Golf Links is just one piece of the diverse tapestry of golf found in the state of South Carolina. (Streeter Lecka/Getty Images)

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South Carolina, known as the Palmetto State, boasts 351 golf courses that form a remarkably varied offering. From coastal gems, broad-based meadowland layouts and even courses up in the mountains in the western part of the state, the variety runs the gamut. Additionally, designs range from exclusive private clubs and real estate ventures to resort courses and remarkably affordable daily fee and municipal layouts. Moreover, golf in South Carolina is a year-round affair. In short, it’s an ideal state for diverse golf.

The state is particularly strong as a golf destination, whether for public players seeking affordable access, resort goers seeking a golf vacation, or second-home residents from other states. Data drawn from the National Golf Foundation shows that four out of every 10 rounds played in South Carolina come from out-of-state players. That’s the fourth-highest total in the country. The state has two of the four most intense regional markets in the country: the Grand Strand north and south of Myrtle Beach, and the Hilton Head-Bluffton-Beaufort area. Both are heavy on the side of resort and residential golf.

Among the draws – besides the favorable, virtually year-round golf season – is the quality of golf in South Carolina.

Harbour Town Golf Links, this week’s perennial host venue for the PGA TOUR’s RBC Heritage, is a Pete Dye-designed gem that debuted in 1969 to much acclaim for its low-lying intimacy through native corridors of live oaks and pines. It was a revolutionary golf course in its day for its small greens, reliance on all of 4-5 feet of elevation change across the entire site, and finish along the Calibogue Sound, with the iconic lighthouse behind the 18 th green.

Sahith Theegala tees off on the iconic 18th hole at Harbour Town Golf Links. (Andrew Redington/Getty Images)

Back then, land developer Charles Fraser was just trying to establish the island as a golf destination. He seems to have succeeded beyond even his ambitious dreams, what with two dozen golf courses now on the island and at least another 30 on the mainland side in the corridor between Savannah and Beaufort.

These, too, run the gamut of design character, including elegant real estate developments like the 36-hole properties of Colleton River, Belfair and Berkely Hall; the upscale sensibility of a resort-like May River Golf Club; or the privacy of intimate clubs like Chechessee Creek, Old Tabby Links and Secession. All are routed within the native land shaped by the Intracoastal Waterway. Their playing character changes with the tide and the wind.

Up in the Charleston area, the quality of golf starts with two classic Seth Raynor designs: the Country Club of Charleston (1925) and Yeamans Hall Club (1926).

The picturesque clubhouse at the Country Club of Charleston during the 2019 U.S. Women's Open Championship. (Streeter Lecka/Getty Images)

These are both private clubs, though anyone playing the recently restored Charleston Municipal Golf Course would find Raynor’s influence palpable here as well, even though he did not directly design the course. When it comes to impressive coastal properties, Wild Dunes Resort’s Links Course (1981) still resonates with golfers four decades after it opened. Credit for that is due to the pristine nature of the site on Isle of Palms that designer Tom Fazio inherited and the way his chief shaper there, a young upstart named Mike Strantz, let his creativity run free.

Strantz further solidified his reputation as an unparalleled artisan with such designs as Bulls Bay Golf Club in the Charleston area and both Caledonia Golf & Fish Club and True Blue Golf Club up on Pawleys Island in the Myrtle Beach area.

There, they joined the region’s first golf course, Pine Lakes Country Club (Robert White, 1927), and the region’s first nationally acclaimed design, Dunes Golf and Beach Club (Robert Trent Jones Sr., 1949). By the end of the 20 th century, there were more than 100 courses in the region, including four resort layouts at Barefoot Landing, two at Grande Dunes Resort and Tidewater Golf Club.

Inland, the state has just as much quality to offer. The Palmetto Golf Club in Aiken sports the distinctive design flair of Herbert Leeds (1890s), complemented by a wedge-shaped clubhouse with eyebrow windows that is the 1902 handiwork of Stanford White, who also designed the famous clubhouse of Shinnecock Hills Golf Club on Long Island.

A look at the 5th hole of the Palmetto Golf Club. (David Cannon/Getty Images)

On the other side of town in Aiken Golf Club, a 1912 design that maxes out at 5,795 yards and yet holds up well for its Pinehurst style of shot-making demands. Small wonder it is a favorite among golfers gathered in the area during Masters week.

In the more mountainous, western half of South Carolina, the golf tends to be much more parkland-oriented. That’s the appeal of the seven-course residential golf repertoire comprising The Cliffs communities, which brought to bear the design talents of Tom Fazio, Tom Jackson, Jack Nicklaus, Gary Player and Ben Wright. The Player-designed Cliffs at Mountain Park (2013) in Travelers Rest, 25 miles north of Greenville, is an intimately routed, very walkable course. Its vast sand splashes and wide fairways straddle the North Saluda River along a valley that sits 1,600 feet above sea level in the Blue Ridge Mountains – hardly your conventional real estate golf course.

When it comes to drama that contrasts with South Carolina’s coastal golf treasures, you can’t find a sharper counterpoint than The Cliffs at Glassy (1994) in Landrum, 11 miles east of Mountain Park. The Cliffs at Glassy, which tops out at 3,353 feet above sea level, feels like golf on the roof of the world – or at least of the Palmetto State. If it doesn’t take your breath away, it will at least make you gasp at the distant views.

For all this strength of its diverse golf offerings, the supply is still getting more interesting. Two courses east of Aiken have just debuted and already have caught the buzz of social media architecture aficionados. Old Barnwell, by Brian Schneider and Blake Conant of Tom Doak’s Renaissance Golf Design team, fills up a sandy, 575-acre site that provides plenty of room for distinct angles and alternate paths of play. Though a private club, it has a mission of inclusivity and public service that ensures its place in the greater community of state golf and sports culture.

The Tree Farm, midway between Aiken and the state capital in Columbia, is the product of PGA TOUR member Zac Blair’s imagination, a routing by Tom Doak, and the shaping skills of Kye Goalby. It’s South Carolina’s version of a trendy place like Sweetens Cove Golf Club in Tennessee or Landman Golf Club in Nebraska – golf for hearty walkers who love the game, play fast, utilize the ground game and cannot wait to tee it up again.

The vast scale of the land provides a very unconventional scope for the golf. Think of it as Mike Strantz’s Caledonia Golf & Fish Club on a much larger canvas.

When it comes to interesting golf, South Carolina menu of courses offers a wide variety that appeals to players of every imaginable sort. Small wonder it’s such a strong golf destination.

Bradley S. Klein is a veteran golf writer and author of 10 books on course design. A former PGA TOUR caddie, he was architecture editor of Golfweek for over two decades and is now a freelance journalist and course design consultant. Follow Bradley Klein on Twitter .

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A Georgia beach aims to disrupt Black students’ spring bash after big crowds brought chaos in 2023

FILE - A crowd of party-goers cheer for a woman drinking from a beer bong during Orange Crush on Tybee Island, Ga., April 16, 2016. Thousands of Black college students expected this weekend for an annual spring bash at Georgia’s largest public beach shouldn’t expect a warm welcome. Tybee Island’s city leaders are bringing in dozens of extra police officers and using barricades to block parking lots and residential streets during Orange Crush, a sprawling beach party begun three decades ago. (Josh Galemore/Savannah Morning News via AP, File)

FILE - A woman sips on her drink inside the crowd of party-goers during Orange Crush on Tybee Island, Ga., April 16, 2016. Thousands of Black college students expected this weekend for an annual spring bash at Georgia’s largest public beach shouldn’t expect a warm welcome. Tybee Island’s city leaders are bringing in dozens of extra police officers and using barricades to block parking lots and residential streets during Orange Crush, a sprawling beach party begun three decades ago. (Josh Galemore/Savannah Morning News via AP, File)

A worker places a section of metal barricade along a main road on Tybee Island, Ga., on Tuesday, April 16, 2024, a few days ahead of the weekend beach party known as Orange Crush. Black college students started the spring bash at Georgia’s largest public beach more than 30 years ago. Tybee Island officials are blocking roads and parking spaces and brining in about 100 extra police officers for the party this weekend, saying record crowds last year proved unruly and dangerous. (AP Photo/Russ Bynum)

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TYBEE ISLAND, Ga. (AP) — Thousands of Black college students expected this weekend for an annual spring bash at Georgia’s largest public beach will be greeted by dozens of extra police officers and barricades closing off neighborhood streets. While the beach will remain open, officials are blocking access to nearby parking.

Tybee Island east of Savannah has grappled with the April beach party known as Orange Crush since students at Savannah State University, a historically Black school, started it more than 30 years ago. Residents regularly groused about loud music, trash littering the sand and revelers urinating in yards.

Those complaints boiled over into fear and outrage a year ago when weekend crowds of up to 48,000 people daily overwhelmed the 3-mile (4.8 kilometer) island. That left a small police force scrambling to handle a flood of emergency calls reporting gunfire, drug overdoses, traffic jams and fist fights.

Mayor Brian West, elected last fall by Tybee Island’s 3,100 residents, said roadblocks and added police aren’t just for limiting crowds. He hopes the crackdown will drive Orange Crush away for good.

“This has to stop. We can’t have this crowd anymore,” West said. “My goal is to end it.”

Critics say local officials are overreacting and appear to be singling out Black visitors to a Southern beach that only white people could use until 1963. They note Tybee Island attracts vast crowds for the Fourth of July and other summer weekends when visitors are largely white, as are 92% of the island’s residents.

“Our weekends are packed with people all season, but when Orange Crush comes they shut down the parking, bring extra police and act like they have to take charge,” said Julia Pearce, one of the island’s few Black residents and leader of a group called the Tybee MLK Human Rights Organization. She added: “They believe Black folks to be criminals.”

During the week, workers placed metal barricades to block off parking meters and residential streets along the main road parallel to the beach. Two large parking lots near a popular pier are being closed. And Tybee Island’s roughly two dozen police officers will be augmented by about 100 sheriff’s deputies, Georgia state troopers and other officers.

A worker places a section of metal barricade along a main road on Tybee Island, Ga., on Tuesday, April 16, 2024, a few days ahead of the weekend beach party known as Orange Crush. (AP Photo/Russ Bynum)

Security plans were influenced by tactics used last month to reduce crowds and violence at spring break in Miami Beach , which was observed by Tybee Island’s police chief.

Officials insist they’re acting to avoid a repeat of last year’s Orange Crush party, which they say became a public safety crisis with crowds at least double their typical size.

“To me, it has nothing to do with race,” said West, who believes city officials previously haven’t taken a stronger stand against Orange Crush because they feared being called racist. “We can’t let that be a reason to let our citizens be unsafe and so we’re not.”

Tybee Island police reported 26 total arrests during Orange Crush last year. Charges included one armed robbery with a firearm, four counts of fighting in public and five DUIs. Two officers reported being pelted with bottles, and two women told police they were beaten and robbed of a purse.

On a gridlocked highway about a mile off the island, someone fired a gun into a car and injured one person. Officials blamed the shooting on road rage.

Orange Crush’s supporters and detractors alike say it’s not college students causing the worst problems.

FILE - A woman sips on her drink inside the crowd of party-goers during Orange Crush on Tybee Island, Ga., April 16, 2016. Thousands of Black college students expected this weekend for an annual spring bash at Georgia's largest public beach shouldn't expect a warm welcome. Tybee Island's city leaders are bringing in dozens of extra police officers and using barricades to block parking lots and residential streets during Orange Crush, a sprawling beach party begun three decades ago. (Josh Galemore/Savannah Morning News via AP, File)

A woman sips on her drink inside the crowd of party-goers during Orange Crush on Tybee Island, Ga., April 16, 2016. (Josh Galemore/Savannah Morning News via AP, File)

Joshua Miller, a 22-year-old Savannah State University senior who plans to attend this weekend, said he wouldn’t be surprised if the crackdown was at least partly motivated by race.

“I don’t know what they have in store,” Miller said. ”I’m not going down there with any ill intent. I’m just going out there to have fun.”

Savannah Mayor Van Johnson was one of the Black students from Savannah State who helped launch Orange Crush in 1988. The university dropped involvement in the 1990s, and Johnson said that over time the celebration “got off the rails.” But he also told reporters he’s concerned about “over-representation of police” at the beach party.

At Nickie’s 1971 Bar & Grill near the beach, general manager Sean Ensign said many neighboring shops and eateries will close for Orange Crush though his will stay open, selling to-go food orders like last year. But with nearby parking spaces closed, Ensign said his profits might take a hit, “possibly a few thousand dollars.”

It’s not the first time Tybee Island has targeted the Black beach party. In 2017, the city council banned alcohol and amplified music on the beach only during Orange Crush weekend. A discrimination complaint to the U.S. Justice Department resulted in city officials signing a non-binding agreement to impose uniform rules for large events.

West says Orange Crush is different because it’s promoted on social media by people who haven’t obtained permits. A new state law lets local governments recoup public safety expenses from organizers of unpermitted events.

In February, Britain Wigfall was denied an permit for space on the island for food trucks during Orange Crush. The mayor said Wigfall has continued to promote events on the island.

Wigfall, 30, said he’s promoting a concert this weekend in Savannah, but nothing on Tybee Island involving Orange Crush.

“I don’t control it,” Wigfall said. “Nobody controls the date that people go down there.”

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Terry Allen's Playful "Public Perception" for Gym Goers

Posted on April 19, 2024 at 10:53 AM by Monet Butler

Visual artist and songwriter Terry Allen (b. 1943) is known internationally as a Renaissance man. With 12 albums of music and copious amounts of artwork in different mediums (drawing, sculpture, and mixed media), it made complete sense that Allen branched out with the installation of A Public Perception . This installation features eighteen neon signs stationed both inside and outside State Gymnasium on the Iowa State campus. This was the first “all neon” installation in Allen’s illustrious career.

An outdoor entrance to State Gymnasium showing the underneath of the skywalk which has a neon sign saying You Are Now Entering A Living. Inside the skywalk there are more neon signs saying Being, Mind, Soul, Heart, Organ, Etc.

Scattered throughout the gym are various demands for action. Each word’s location is carefully curated by Allen, such as “GASP” and “BREATHE” by the track, and “REST” on the exterior facade as people exit. The weight section has the words “HOP,” “SKIP,” and “JUMP,” ironically the last place you would want to be flailing about. Above it all is the reminder “THE BODY IS SERIOUS BUSINE$$,” comparing an economically flourishing professional organization to a healthy body.

Terry Allen leaning against a tiled wall with a window with a yellow neon sign that says Sweat

As you leave, there is a declaration of a “BIG ORTHOSCOPIC TOMORROW.” While people may associate “orthoscopic” with glasses and other eyecare, in reality it is the idea of an undistorted view. By working out, people leave with a clear mind, harkening back to the cluster of signs on the ceiling of the walkway.

The signs are all bright and demand attention. The neon medium is essential to capture the eyes, as these words and phrases certainly would not draw as much attention if merely on a poster. By using neon, Allen uses bright colors to pique interest away from weights or machines to the various signs. Scattering around the different signs not only creates a very effortless aesthetic of the gym, but also invites new fitness fanatics to explore the gym to seek each sign out. A Public Perception challenges the idea that working out is only for a certain type of person, inviting new people to take their health seriously and to take note of how their life and wellbeing improve with fitness.

Monet Butler University Museums 2024 Pohlman Fellow ISU Class of 2026 | Political Science

Terry Allen (American, b. 1943) A Public Perception, 2011 Neon and glass Commissioned by University Museums. An Iowa Art in State Buildings Project for the Recreation Services Expansion. Located in the State Gymnasium addition, Iowa State University, Ames, Iowa. Photos by Cameron Campbell. Images ©University Museums, Iowa State University, 2012.

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Concertgoer Definition & Meaning
The meaning of CONCERTGOER is one who often attends concerts. How to use concertgoer in a sentence.
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tour-goer (plural tour-goers) Alternative form of tourgoer. 2007, Dianna Avena, Roswell: History, Haunts and Legends, →ISBN, page 38: This tour-goer stopped everyone in their tracks when she told of seeing a family in the attic window many times prior to this particular night.
tour-goers
Noun [ edit] tour-goers. plural of tour-goer. Categories: English non-lemma forms. English noun forms.
tour-goers: meaning, definition
tour-goers (English)Noun tour-goers. Plural of tour-goer; This is the meaning of tour-goer:. tour-goer (English)Origin & history tour + -goer Noun tour-goer (pl. tour-goers). Alternative form of tourgoer; 2007, Dianna Avena, Roswell: History, Haunts and Legends, ISBN 159629308X, page 38: "This tour-goer stopped everyone in their tracks when she told of seeing a family in the attic window many ...
The Ultimate Concert Goers Guide: Everything You Need to Know
A fanny pack is a practical accessory for concert-goers. If you think fanny packs are uncool, just look at what the celebs are wearing, many are proving that the good old-fashioned fanny pack is back in style. Fanny packs offer a convenient and hands-free way to carry essentials, allowing you to keep your phone, wallet and keys, close to you at ...
Mastering Tour Guide English: Essential Phrases and Examples
Mastering tour guide English is essential for effectively communicating with tourists from all over the world. Whether you are giving a walking tour, leading a bus excursion, or guiding a group through a museum, having a strong command of the English language will make your job easier and enhance the overall experience for your tour goers.
Tourgoer Definition & Meaning
Tourgoer definition: One who goes on a tour .
Post-Pandemic and Beyond: Looking Ahead to the Future of Live Concerts
Whether you are a religious concert-goer, a once-a-year orchestra attendee or the main attraction for millions of fans, rest assured your musical community will keep itself alive with your help ...
The Who Returns To Cincinnati 40 Years After Concert Tragedy
Embed. Transcript. Forty years ago, 11 concert-goers were killed in a stampede to see The Who in Cincinnati. The group just announced it will return to play another concert there all these years ...
Frontiers
Contextually, understanding concert-goers' motivations to participate in live performances is increasingly important since attendance represents an essential and growing share of revenues for the music industry and performers alike (Harbi et al., 2014). For example, the Spanish music industry's incomes plummeted because of digital piracy ...
Concert-goer
concert-goer: 1 n someone who attends concerts Synonyms: music lover Type of: consumer a person who uses goods or services
Music Audiences 3.0: Concert-Goers' Psychological Motivations at the
Contextually, understanding concert-goers' motivations to participate in live performances is increasingly important since attendance represents an essential and growing share of revenues for the music industry and performers alike (Harbi et al., 2014). For example, the Spanish music industry's incomes plummeted because of digital piracy ...
7 Concert Etiquette Tips for First Time Concert Goers
A concert experience should be fun and laid-back. That said, there is something that could be referred to as "concert etiquette" and we're going to discuss it in detail below. Without further ado, here are 7 concert tips to ensure that you have a good time and don't bother others. 1. Keep the Hat Size to a Minimum.
CONCERTGOER
CONCERTGOER meaning: 1. a person who often goes to concerts 2. a person who often goes to concerts. Learn more.
CONCERTGOER
CONCERTGOER definition: 1. a person who often goes to concerts 2. a person who often goes to concerts. Learn more.
Travel Tips for Concert-Goers: How to Maximize Your Experience
Consider the amenities offered, and if possible, find accommodation that caters to concert-goers as they might have special arrangements or discounts. The convenience of staying near the venue means you can bask in the concert atmosphere for longer and perhaps even bump into fellow fans or the artists themselves!
5 Things To Know Before Seeing Taylor Swift At "The Eras Tour"
Quentin Williams. James Williams. Molly Downs. Malak Kassem. Malak Kassem Isabella Athanasiou. 5 Things To Know Before Seeing Taylor Swift At "The Eras Tour". From a concert-goer who attended opening night of Swift's tour in Glendale, here are five tips you should know before seeing the pop star in concert.
What is another word for concertgoers
Synonyms for concertgoers include public, audience, clientele, fans, following, followers, patrons, spectators, theatergoers and theatregoers. Find more similar words ...
Denver concertgoers and promoters decry rising costs of attending and
Concert-goers and promoters decry high costs of attending, organizing shows 03:31. Word of the potential of a Justice Department antitrust lawsuit against the country's largest concert promoter ...
The 4 Best Earplugs for Concerts of 2024
The improved noise reduction is good for musicians and frequent concert-goers. The higher NRR/SNR rating of 17 dB is better than that of most of the universal earplugs we tested, ...
Campus Tours
Parties of up to 14 persons can register for a free in person tour. Parties of 15-60 are encouraged to submit a request for a private tour. Registered tour goers should arrive at the Visitor Center at least 15 minutes before your tour to check-in. Tours depart from the Smith Campus Center and end in Harvard Yard.
The Best Concert Earplugs for Protecting Your Hearing
Loop Earplugs are a favorite among concert-goers and our staff, thanks to their comfortable, stylish, and high-fidelity design. The earplugs have an NRR of 18 decibels, so you'll get moderate ...
Easy + Fun Taylor Swift Eras Outfits
Taylor Swift's "The Eras" tour is kicking off in March 2023, and lucky concert-goers are already trying to figure out the perfect outfit to wear to honor one of Taylor's many musical eras. "The Eras" U.S. tour will begin on March 17, 2023 and end on August 9th, 2023. When tour starts it will have been around 5 years and 4 new albums (not ...
Hundreds evacuated from historic New Hampshire performance ...
Hundreds of concert-goers had to be evacuated from a historic New Hampshire performance center after a fire spread from nearby businesses and threatened to engulf the venue Saturday night.
Lil Yachty walkout meme using AI taking over sports world, explained
The new meme of Lil Yachty walking out at a concert has become a meme using AI to put in the Joker, NBA players and more. Lil Yachty walkout meme using AI taking over sports world, explained BetFTW
Inside the Field: Zurich Classic of New Orleans
The PGA TOUR heads to TPC Louisiana for the Zurich Classic of New Orleans. The final field features 80 teams at TPC Louisiana . The event utilizes an alternating-round Four-ball and Foursomes format.
RBC Heritage: How to watch Round 3, featured groups, live scores, tee
A four-way tie of Collin Morikawa, Tom Hoge, Sepp Straka and J.T. Poston lead the field after Friday at Harbour Town. Ludvig Åberg is one of three players sitting one back at 10-under.
Harbour Town Golf Links just one gem in golf-rich state of South
Harbour Town Golf Links, this week's perennial host venue for the PGA TOUR's RBC Heritage, is a Pete Dye-designed gem that debuted in 1969 to much acclaim for its low-lying intimacy through ...
Orange Crush: Georgia's Tybee Island braces for spring break crowd
FILE - A crowd of party-goers cheer for a woman drinking from a beer bong during Orange Crush on Tybee Island, Ga., April 16, 2016. Thousands of Black college students expected this weekend for an annual spring bash at Georgia's largest public beach shouldn't expect a warm welcome. ... Wigfall, 30, said he's promoting a concert this ...
Terry Allen's Playful "Public Perception" for Gym Goers
Visual artist and songwriter Terry Allen (b. 1943) is known internationally as a Renaissance man. With 12 albums of music and copious amounts of artwork in different mediums (drawing, sculpture, and mixed media), it made complete sense that Allen branched out with the installation of A Public Perception.This installation features eighteen neon signs stationed both inside and outside State ...

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Post-Pandemic and Beyond: Looking Ahead to the Future of Live Concerts

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The Who Returns To Cincinnati 40 Years After Concert Tragedy

MINI REVIEW article

Introduction

Why go to Concerts?

Music Audiences 3.0

Author Contributions

Conflict of Interest Statement

Music Audiences 3.0: Concert-Goers’ Psychological Motivations at the Dawn of Virtual Reality

Introduction

Why go to Concerts?

Music Audiences 3.0

Author Contributions

Conflict of Interest Statement

Travel Tips for Concert-Goers: How to Maximize Your Experience

Embrace the Country Concert Vibe

Choose the Right Accommodation

Get Your Tickets Early

Explore the Local Scene

Stay Safe and Healthy

Dress Appropriately

Engage with Other Fans

Conclusion:

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