Arena Concert

Robert Edgar is a Senior Lecturer in the Faculty of Arts at York St John University, UK.Kirsty Fairclough-Isaacs is Senior Lecturer in Media and Performance and Associate Director (International) in the School of Arts and Media at the University of Salford, UK. Benjamin Halligan is Director of Postgraduate Research for the College of Arts and Social Sciences, University of Salford, UK. Nicola Spelman is Senior Lecturer in Popular Music in the School of Arts and Media at the University of Salford, UK.

• AcknowledgementsContributorsIntroduction: “A Stately Pleasure-Dome”? Robert Edgar, Kirsty Fairclough-Isaacs, Benjamin Halligan and Nicola SpelmanPart One: Prehistories1: From Mach Schau to Mock Show: The Beatles, Shea Stadium, and Rock SpectacleJeffrey Roessner2. Beyond Beatlemania: The Shea Stadium Concert as Discursive ConstructMark Duffett3: Through a Lens Darkly: The Changing Performer-Audience Dynamic as Documented by Four Progressive Rock Concert FilmsKevin Holm-Hudson4: Evolutions of The Wall: 1979 – 2013Kimi KärkiPart Two: Arena Concerts Now5: From Shed to Venue: the Arena Concert Event SpaceRobert Kronenburg6: Constructing the Cosmopolitan Arena ConcertLukasz Swiatek7: “Roll Up and Shine”: A Case Study of Stereophonics at Glasgow’s SECC ArenaEmma Webster8: Being There: Encounters with Space and the Affective Dimension of Arena SpectacleAlice O’GradyPart Three: Perspectives – Personal and Professional 9: “Hello Cleveland..!”: The View from the StageJon Stewart10: Illuminating Arenas: Towards the “Ultimate Multimedia Experience”Jon Stewart and Benjamin Halligan11: A Personal History of UK Arena Concerts: Reflections on Gigs over the Past Forty YearsPeter Smith12: Rocking Around Watford: Trying to Find What I Was Looking ForRobert Edgar, with Julia and Evan SheltonPart Four: Arena Media13: The Aesthetics of the Arena: Live and RecordedRobert Edgar14: We Made This Together: How Awesome; I Fuckin’ Shot That! Foresaw Changes in the Live Concert Experience Brought about by Digital Technology and Social MediaNeil Fox15: Framing Experience: Filming and the Excesses of AestheticsErich HertzPart Five: The Arena Experience16: “Sing it with me now”: Audience Participation in Arena ConcertsNicola Spelman17: Performing Kylie: Looks DivineSunil Manghani18: Intimacy in PublicJos Mulder19: Beyoncé’s Celebrity Feminism and Performances of Female Empowerment in the Arena ConcertKirsty Fairclough-Isaacs20: Intimate Live GirlsBenjamin HalliganBibliographyIndex

“'A Messianic aspiration to the Sermon on the Mount with visions of totalitarian uniformity': the editors characterize what was once mass entertainment, but is now mass-produced entertainment. Intricately and insightfully interlacing analysis, commentary, evaluations and interviews, the editors offer the definitive text on perhaps the most spectacular and (literally) awesome form of musical entertainment ever conceived. They take us from to Shea Stadium, New York in the 1960s to the O2 Arena Dublin today; we are with Coldplay one chapter, Iron Maiden the next; Dylan in Manchester, England, Beyoncé in Rosemont, Illinois. My ears are still ringing. A stunning text.