By Shane Homan
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Extra resources for Access All Eras
An often cited explanation for the origins of the tribute band phenomenon is that it began as a response to the perpetual ‘unavailability’ of original acts in particular parts of the world (see Chapters 2 and 5). Many rock and pop acts, although having attained a global audience, may tour infrequently, and a tour of any given country on the international circuit may extend only to a few large venues. Thus, opportunities for fans to see a favourite group or artist are in many cases limited, both due to ticket availability and cost.
Tribute bands gain the adulation of the audience through the quality of their portrayal of the tributed act, not through actually claiming to ‘be’ the artists they tribute. It is thus crucial in this respect that tribute bands are seen to not take themselves ‘too’ seriously. This is achieved by occasionally reminding themselves and the audience that they are not ‘the real thing’. The use of humour enables tribute bands to laugh about themselves and invites the audience to share the joke. Opportunities for the use of humour also exist where both the tribute band and its audience are from a particular place or region and share the same local knowledge and experience.
1 Sally Joy explores the ‘Australian invasion’ of tribute acts upon British venues in ‘Send in the Clones’, Melody Maker, 29 August 1992 40 INDUSTRIES AND AUDIENCES associated with smaller live events. In order to retain those characteristics, large-scale events must surrender a substantial measure of their liveness to mediatization. Ironically, intimacy and immediacy are precisely the qualities attributed to television that enabled it to displace live performance. In the case of such large-scale events, live performance survives as television.