What does this phrase actually mean? And how does it link to the current conversation surrounding inaccessibility for the live music scene?

This phrase has been thrown around a lot within the past year specifically, as we start to see the shift from fangirl to music industry professional and what got them there: well most say their own fan accounts they ran at 14 for One Direction. It is true, these update accounts cultivate its’ own community, with artists being able to interact closer with fans. Roles that teams have that are paid for, fans already do just to support their favourite artists further. Whether it be a streaming party on StationHead, creating TikTok content or just posting about the artists you love, especially if they are smaller, has grown artists beyond belief.

I mean it is pretty obvious based on the fact if fans are not present listening to music or attending shows, those artists would not have a platform. It is far more than what an industry can try and manufacture. I just recently attended a Louis Tomlinson concert, which inspired this as he has always reiterated the teamwork effort it takes between him and the audience. In a recent interview, he disclosed,”More fans should work in the industry..they live and breathe these projects.” Noticing at this gig, the effect of such. A whole fan project that was not started by Louis or pre-discussed where the phone lights raise up and down during the Kill My Mind chorus. A beautiful sentiment for the artist of the excitement and want to push his work and show up, at a sold out 02 show with not such a push from radio play, just fans. Those communities have been built from the minute social media showed up, and through lockdown, I alone had got to know so many people, some of which are my best friends to this day. All from us supporting a few small artists during such an unwavering time, and continuing that support where we can. Friends always introduce me to new music, and these artists end up meeting or seeing these familiar faces who have supported their career from the get-go. I got reminded of that further at the gig, when I had noticed a few other artists there too that have backed this sentiment and support also.

Only The Poets were also at this concert, which led me to think immediately about their recent concert at the 02 Academy Brixton, in which they charged £1 a ticket. In the background of their show, it read ‘Live music is not a luxury, let’s keep it accessible’. Also, they have offered ‘low income’ tickets to their previous European tour (I have also reported on this and their latest album in a previous separate post). Louis Tomlinson made sure his tour was also widely accessible, touring properly across Europe and further on, charging around £42-58 for majority of the seating, which has become not so common now. Fangirls (and fanboys) can no longer become the backbone with the current inaccessibility of live music that has become highly talked about.

Of course, we know the rise in touring prices is immense, and for smaller artists, it has become increasingly impossible to break. As fans, they push for these small artists and go to the gigs at grassroot venues. And yes you can get a fairly cheap ticket there, but there is a rise of these grassroot venues having to make cuts and a lot of the very beloved venues such as PRYZM in Kingston, has had to close their doors. This is where a lot of artists gain their head start, but what can they do now? There is an issue higher up. As seen recently with Harry Styles and Olivia Rodrigo, their teams and them as individuals have decided to do residences, a few locations with multiple nights across only a few countries. 9 London shows, but nowhere else in the UK. Whilst also ensuring the prices are heightened, over £100 sometimes to be in the seats. Which has differed dramatically from their previous tours. Now it seems like the fans have to come to the artist? It seems like a geographical jackpot, but fangirls are the backbone, so what is the result? Although a lot of people become willing to pay the price, it leads to half-empty stadiums prior to the show. This expense has also led to other artists having to cancel their tours. Whether that is the expense, chances are it is the balance of money in this day and age, people would have gone to the show. It is less about lack of demand, more about lack of access. Some may say it is due to the cost of living, prices will inevatibility increase, but this seems alarming. Monopolies from ticketing companies, taking advantage of the community and space live music brings. A crucial space that has brought joy to so many and helped artists grow. What I do see though, is fans breaking into the music industry. Creating change and being the audience that they are trying to aim towards. I have seen them become concert photographers, interviewers and working within labels or even working as content creators, and I can see that backbone and that love for just the art, leverage this industry for the better in numerous ways, fans finding their content enjoyable as it speaks from a similar perspective of care and interest.

I have also seen how this fan platform has helped me as I have grown, giving me opportunities. From needing to find an artist to interview for a music journalism module, I was able to interview Alex Amor, purely from a DM to her after being mutuals on Twitter. Getting a ticket to The Great Escape festival for free and overall, seeing how artists are willing to reciprocate because it often times gives them the leverage they are looking for. I would also have people I followed ask me on Twitter about a certain artist because they want to see them at a festival after seeing me talk about them. It is about the community at its’ core, for delivering and enjoyment. I mean, sometimes the best concerts are the ones where I cannot even see the artist but I am just dancing with friends. Although I have not always spoke to artists specifically about what I look to do in this industry, the pure community I have gained has made this whole blog grow for me, and knowing how welcomed these artists made fans and me feel, definitely drove this passion further.

Anyway, back to the fangirl importance. It really is down to those fans knowing exactly what other fans would want! Some may call fangirls ‘crazy’ or ‘childish’, which have been stereotypes forced upon us from a young age, I believe a lot of it is based on the mainly female audience that is gathered, how they may not be taken seriously. These communities save individuals from feeling alone, when they might get made fun of in school for liking a certain artist, but then they find like-minded individuals, with the same passion. I know it helped me to find connections during a time of uncertainty. You definitely see a difference from 15 – 24, but ultimately music is helping people no matter what age or who they are. They come in full force to arrange giant fan projects, from lights at The Eras Tour, to a smaller project at a first headline show. It takes organisation, time and dedication, and that is the sole difference of the fan to artist bond, to anything else. Fans now run TikTok accounts, becoming micro-influencers over music content, working on artist campaigns and promoting music. Basically a fulltime job. You might get to the end of this and completely understand the concept. I mean Erin LeCount reiterated that exact phrase perfectly. However, how can you help support your favourite artists, and show up best?

The key is to just be a listener of their work. You do not need any fancy merch, or to go to a crazy amount of concerts (although a very valid thing to do), to claim yourself as a fan. Get involved with online communities, make that fan page or TikTok account, and meet those artists afterwards, tell them how you enjoyed the set or just say hi! If there is an opener at the concert that you really like, tell them and make it known. Artists such as Dylan, Alex Amor and Wet Leg, are all artists I have loved after seeing them in an opening slot. Share your thoughts as a fan, as it makes more impact than you think. This being said, I have seen a direct link of the sentiment ‘fangirls are the backbone of the industry’, to the current growing inaccessibility of live music. How, it seems to be slightly on the decline because the fans simply cannot show up. It should not be subject to circumstances often out of our control. I do have a lot of concerts that I am lucky to be excited about, especially being based in London, but it is rightfully so to still recognise that isn’t possible for a vast majority.

I am passionate about these topics as a fan myself, and hope you enjoyed reading this more personal article today. I create content of artists from an authentic, fan lens and I hope you continue to stick around. This real change in how those even higher up in the industry perceive fans, will make for a more accessible and enjoyable future for fans and artists alike.