The thesis makes three major contributions to marketing knowledge. Firstly, it answers some calls to action in consumer research, while also questioning findings of one study. Secondly, the conceptual framework links together fragmented knowledge from the marketing and social sciences literature. Thirdly, it identifies and explains how a connection between hedonic happiness, eudaimonic meaning, and the self-authentication process work together at rock concerts to create short-term and lasting wellbeing for its consumers.
Answering Calls to Action and Questioning Knowledge
Firstly, the findings answer the calls to action of various researchers. Minor et al. (2004) and Hausman (2011) identified marketing research knew little about what motivates consumers to attend live concerts. Grayson and Martinec (2004) recommend marketing research explore the benefits of consuming something authentic, while Bruner (1994) and Napoliet al. (2013) made recommendations to explore how consumers’ activities in specific services relate to authenticity. Similarly, Moore (2002) called for research to find reasons music consumers have for finding a particular performance authentic.
Secondly, these findings indicate authenticity is an important process rather than the outcome. Although authenticity is a major finding of this thesis, enhanced wellbeing is the major motivation to consume experiences, and authenticity is a
150 process to achieve this. These findings question the assertion of Gilmore et al. (2009) that authenticity has become a primary concern for consumers seeking experiences.
Conceptual Framework
Many of the findings from this thesis align with previous studies, including the paradigms/concepts of authenticity, identity and self-authentication, and co- creation. The second major contribution of this work is tying together how they relate to each other in a framework. What I learnt is similar to ideas from the marketing, music, and social sciences literature [See Figure 11.].
Figure 11: Alignment with Previous Research
Previous consumer research (cf. Holt, 2002; Shankar et al., 2009; Arnould & Price, 2000; Beverland & Farrelly, 2010; Wang, 1999) identifies that authentic brands and experiences empower consumer identities through self-expression and providing meaning. Similarly, personal investments into cathartic and authentic experiences serve as a means to construct a cohesive identity (Leigh et al., 2006). Findings substantiates the claim which marketers make that experiences need to be authentic (cf. Brown et al., 2001; Holt, 2002; Kadirov et al., 2013), and illuminates the why. Without being authentic, rock concerts do not provide the
151 value of consumer wellbeing. Authenticity provides meaning to consumer and grounds his or her identity.
Findings from studies on musical subcultures (cf. Goulding & Saren, 2009; Goulding et al., 2002; North & Hargreaves, 1999; Snell, 2012) suggest a sense of community is strong amongst music subculture members. The Goulding et al. (2002) study shows consumers came from all walks-of-life to experience the weekend culture of hedonism, sensation, and escapism at dance raves in the UK. Participants in this study too wanted to experience community, hedonism, sensation, and escapism at rock concerts in New Zealand.
Findings are consistent with previous studies of concert performances (Earl, 2001; Minor et al., 2004) which identified that the unique aspects of live performance not offered by recordings are a major reason for consumption. Findings also reiterate the assertion of Weisethaunet and Lindberg (2010) that rock music fans authenticate the band’s ability to perform the music live, rather than authenticate the music itself as rock. Similarly, it supports that concert audiences must interpret the performance as authentic and credible (Regev, 1994).
The marketing literature also asserts that authenticity is not an inherent attribute of the product. Consumers observe it as the behaviours of a brand (Beverland & Farrelly, 2010). Consumers evaluate the authenticity of a brand based on three main factors: quality commitment, heritage, and sincerity (Napoli et al., 2013). These findings have similarities that relate to rock concerts. Quality commitment relates to the songs sounding unmistakably like the original recording. Heritage relates to the band playing a variety of songs and fan favourites. Sincerity relates to the band enjoying their performance and making a real attempt to connect with the audience.
Findings show that based on fans’ individual perceptions, rock concert consumers can construct authenticity or inauthenticity onto an experience. The nature of authenticity and inauthenticity as opposites is fundamental in the creation of product value (Taylor, 2001). Findings suggest if fans evaluate a rock concert experience as inauthentic, the band loses value in their minds, and there is a decreased likelihood of future consumption. When a concert experience is
152 authentic, fans are likely to consume the band’s music and concerts into the future.
Finally, this study reiterates that the quality of consumption experiences can depend on the nature of involvement the consumer has in co-creation (cf. Arnould & Price, 1993; Pine & Gilmore, 1999; Prahalad & Ramaswamy, 2004a; 2004b; Prebensen & Foss, 2011; Schmitt, 2011). Concert consumers want to be active rather than passive creators.
Hedonia, Eudaimonia, and Wellbeing
The third major contribution of this work is identifying how connections amongst hedonic happiness, eudaimonic meaning, and the self-authentication process work together to create short-term and lasting wellbeing.
Rock concerts produce both short-term happiness and long-term wellbeing. The feeling of hedonia is strongest during the concert, while the meaning associated to seeing bands they are fans of is stronger after the experience. The path to wellbeing is through two different paths. The first path provides wellbeing via the co-created experience, and the second path provides wellbeing through the self- authentication process.
Previous studies of experiences (cf. Bovan, 2005; Millar & Thomas, 2009) have realised that consumers not only achieve happiness in the moment, but experiences can often produce long lasting happiness. This study extends on this by linking the self-authentication process of rock concert consumers with eudaimonic meaning and enhanced long-term wellbeing. The marketing literature pays more attention to wellbeing from the perspective of hedonia than from the eudaimonic perspective, therefore linking the role of eudaimonia with the self- authentication process is a new insight for the marketing literature. A further contribution is linking together the short-term affective state during the concert [hedonia] and lasting meaning [eudaimonia], with wellbeing and the identity benefits consumers received through the self-authentication process.
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