Rock on! Factors Influencing the Brand Equity of the International Comeback Rock Groups

Abstract

The global industry of popular music has generated more than $ 18 billion in 2008 (IPI, 2008). These revenues come primarily from the sale of music (on physical media and digital) and show tickets. Artists are at the heart of this activity. If the technology leads to adverse effects (e.g. illegal downloading), it can also propel almost anybody to international stardom. The recent cases of Paul Potts and Susan Boyle, contestants of the TV show Britain’s Got Talent and internationally mediated through social media, are clear examples. Conversely, the leading bands and performers of previous decades continue to be a part of everyday audiophile. This applies, for example to dead stars (eg, Elvis Presley, James Brown, John Lennon) and to those who have decided to withdraw from the spotlight (e.g. Tina Turner, Simon and Garfunkel, ABBA). Although the place of marketing in music is debated (Kubacki & Croft, 2004), it is clear that major music bands of international fame such as The Beatles, The Rolling Stones, Pink Floyd, are SMEs generating millions in revenues each year. These bands are commercial brands. These groups, and others, have a presumed strong brand equity. The Rockband phenomenon (e.g. video games) for instance, thrives on these brands and help them expand promoting these groups towards younger fans who would have otherwise ignored the existence of these groups.