Showasis Blog

Mosh Pit Etiquette: Oxymoron or Sensible Thought?

Mike Eaton — Tue, 24 May 2011 19:19:23 +0000

‘MOSH PIT’ ETIQUETTE:

Oxymoron or Sensible Thought?

‘Mosh pit’ and etiquette; these two words don’t collide very often- not nearly as often as kids do at metal and hardcore shows, that’s for sure. With the advent of ‘moshcore’ bands who readily become brawl soundtracks, the aggression expected of fans is pushed ever further. “Don’t get involved in [a mosh pit] if you don’t want to get hurt,” one fan contends. But, is physical harm inevitable to those who mosh? With musical and subcultural lines blurring, the need for a serious dialogue about acceptable pit conduct seems more and more pressing.

Unspoken Rules Of The Pit

To the untrained eye, the pit is simply a crowd embroiled in violence and chaos. However, when an actual fist fight erupts, the pit collapses. Sometimes, the whole show does as well. This is to say that there is some desired balance to be found in the angst and adrenaline- a most delicate balance that crumbles at the slightest provocation. There may not be a formally declared set of rules in the mosh pit, but there certainly is the expectation of specific behaviors therein.

In short, there is a set of do’s and don’ts. But, everyone in the pit seems crystal clear on his own set and skeptical at best of everyone else’s. Moreover, each tends to hold not only himself, but everyone else accountable to his own standards, whether or not others even know what they are. And I hardly ever hear someone shout at a show, “sir, you are in breach of mosh protocol 7.04.0961-B!”

No, the mosh world often speaks only with its fists, I’ve found, avenging itself decisively and mercilessly. One astute observer of the scene’s cultural implications posits that “what was once a pure and innocent form of release now becomes specified dance moves and social rituals.” If neglected, these rituals “dictate a slew of consequences from the protagonists.”

But, mosh critics have long conjectured a simpler explanation as to this excessive violence: the two different moshing styles, push-moshing and hardcore-dancing, are at odds with one another. It’s easy to see how. Push-moshing requires physical contact between participants while hardcore-dancing inherently rejects it. Hardcore-dancing also allows for only a few to mosh at a time and push-moshing is more of a communal interaction. Some even insist on pit-segregation; “if throwdown pits and push-mosh pits would establish away from each other … there would be way less fights.”

With these two contradictory expressions of anger incited by similar styles of music and quite often at the same shows, one can see where confusion and resentment could easily enter the equation. However, I wanted to delve deeper into how the pit differentiates between the violence it encourages and that which disrupts it. So, I put together an online questionnaire of the subject and collected some rather telling responses.

The survey was brief and polled one-hundred mosh enthusiasts from the Southeastern Wisconsin area. Participants were asked two demographic questions up front: “which style of mosh do you prefer?” and “what do you make of the other style?”. The idea was to polarize respondents into four unique profiles; ‘tolerant’ and ‘belligerent’ push-moshers, and ‘tolerant’ and ‘belligerent’ hardcore-dancers. The reply seems to expel any hopes for a one-size-fits-all approach to mosh etiquette. Both sides of this “war” seem evenly divided over the issue of “the other guys” in the pit:

The rest of the survey consists of simple “for instances” which attempt to question each mosh profile’s understanding of physical confrontation as a means to enforce the unspoken rules of the pit.

The data I collected is by no means exhaustive and should not be taken as absolute to the exclusion of other research and personal experience. However, many of the anomalies found seem to hold water for the scene at large. They also raise new questions. Let’s take a look at the data itself:

Question #1:

This was the null question. More than three fourths of all respondents across the board are empathetic to wayward moshers who have fallen into apparently undeserved trouble.

Question #2-3:

These two questions, almost identically-phrased, were designed to probe how justice is carried out in the pit. The majority we observed in question #1 carries over to #2, almost entirely. However, a different picture altogether emerges in question #3.

Mosh-guilt does exist, but so does mosh-taliation. Mantras like “don’t start shit in the pit” are born of this mindset and further a kill-or-be-killed ethos that prevails throughout all mosh profiles. The mentality also manifests itself in the fact that not one participant out of one-hundred chose “fall down and cry” for question #3. Whether it is for pride or self-preservation, weakness is never expressed in the pit.

Also of interest here is the fact that a much higher percentage of push-moshers went with “pretend it wasn’t me” for question #2. This could be due to the fact that in hardcore-dancing a pattern of dominance and submission is established whereas push-moshing is much more of a free-for-all, leaving more room for ambiguity.

Question #4:

One pit-dweller adds, “If a bunch of dudes are going after one person, go after all the other dudes. Mosh pits should only include the mature.” Pit-sayings like that last sentence are not taken lightly. To many, these are words to live and die by. Although half the subjects seek peace in this situation, the other half either do nothing to stop the violence or directly add to it.

Question #5:

This is the ultimate question of my survey. In the end, fights are either an expected part of the fun or have no place at shows. No other question was as hotly contested as this; but when all is said and done, a general disapproval of fighting surfaces. Another participant notes, “some of these questions were hard to answer cause I’m no pussy but I ain’t a dick.” This spectrum of genitalia is often expressed in scene nomenclature, and doesn’t seem to leave room for any alternatives. One is either a “dick” or a “pussy”, a villain or a victim. This is a philosophy which assumes that violence is inevitable. One can only get behind it or step in its path.

Universal Rules of Mosh Pit Etiquette

So, what does all this tell us about the nature of mosh pits? Some aggression is inherent to the pit. Indeed, there would hardly be a “rush”, or even a reason to mosh, if this weren’t true. Still, the pit asks for an inch and takes a mile when it comes to violence. Self-validation and denial come all too easy. And so does preemptive ass-kicking.

The truth is the scene is scared to death of itself. Within our darkly lit venues and legion halls, we are divided over many things as we each seek shape and identity within our community. Straight-edgers and partiers; vegans and carnivores; Christians and atheists. If we remain isolated by these dichotomies of opposites, we are forever doomed. And from the outside looking in, we are all truly more alike than we care to admit.

Personally, I don’t believe for a second that all of this hostility is unavoidable- quite the contrary actually. According to this data, most people involved in fights don’t believe they start them. But, how can this be? Doesn’t it take two to start a fight? I’m not saying that people should roll over and take beatings from every antagonist in the pit. Though, I am saying that if some basic, universal ground rules were observed, metal and hardcore communities could be united by the mosh and not torn apart by it.

So, without further ado I give you the four rules of my proposed guide to Mosh Pit Etiquette, as verbalized by my survey subjects:

1. “Metalheads are supposed to be family.”

Awareness is the golden rule of the pit. Moshing is, after all, a social activity and thus is contingent upon culture. Rituals change from culture to culture and from genre to genre. Bearing in mind that multiple musical subcultures can occupy the same geographic space, one must follow, or at least respect, the social observances of each and every pit. This rule is to supersede all others where contradictions occur.

2. “Don’t ever do anything that takes away from the music. The music created the scene; the scene should not override the music.”

Fights steal the pit, and the show, away from the rest of us. They also force a once communal celebration into individual, petty disagreements. Violence is often the cause of closed venue doors and ruined band reputations. If the pit doesn’t take care of itself, the scene can and will mosh itself to death.

3. “There’s no need to go in looking for a fight.”

It’s a mosh pit; anything can happen. You could get several bones broken or walk out completely unscathed. It is everyone’s responsibility to accept the unexpected and expect the unacceptable. This is not an open invitation to go around punching people in the face under the guise of “pit happens.” It is rather a simple at-ease, and a reminder to reward friendly mosh, not make ‘em regret it.

4. “It should be a group of kids having fun.”

If we forget this, we have forgotten ourselves entirely.

No related posts.

‘Recently Added’ to My iTunes: Defeater – Empty Days and Sleepless Nights

Mike Eaton — Mon, 11 Apr 2011 21:09:24 +0000

‘Recently Added’ to My iTunes

Defeater – Empty Days and Sleepless Nights

One of our favorite music bloggers is back again. Clay Smith, vocalist of the always entertaining Sleep Serapis Sleep, is here to author a new series on the Showasis Blog called ‘Recently Added’. Clay will take us through what’s new in his iTunes and share some of the most candid and insightful album reviews that you’re going to find on the web.

On playlists with: Rosetta, Verse, The Carrier

Empty Days and Sleepless Nights, the latest and double-featured release from Massachusetts’ Defeater, has been residing on my “Recently Added” list and begging my recognition for the past few weeks. However, for those “unDefeated” out there, a formal introduction is needed:

One could argue that Defeater is one of the best hardcore bands around, and it wouldn’t really be much of an argument either. Unrivaled emotional atmosphere, lyrical landscapes of literary proportions, Andy Reitz (who is the Travis Barker of hardcore) and poignant, masterfully written songs are all trademarks of this contemporary, melodic take on the genre. Few bands of any style are capable of such utter immersion, and Defeater’s debut full-length and fan-favorite Travels put all the competition to shame, seemingly overnight.

However, when vocalist Derek Archambault screamed with great conviction on that first record that “it was the first of many, many sleepless nights”, I didn’t think that he meant it literally. Sure, it was a great line, and part of an even greater story; but, it was also the first of many, many times we’d hear similar incarnations of those lyrics. With this latest album, Defeater has now committed two full-lengths and an EP to the same interconnected story. It is the tale of a boy from the Great Depression’s slums who copes with sibling rivalry, a deadbeat father, matricidal guilt and an ever-growing feeling of un-belonging. Though each album introduces a different character’s perspective, I’m starting to wonder if Defeater is a one-trick pony.

I do not contest that Travels has an engaging story and breath-taking, relatable imagery. But, wasn’t its point was driven home sufficiently a full-length and a half ago with its closing track “Cowardice”? This was a haunting ode sung by a suicidal protagonist filled with shame and regret, a song which could very well represent my favorite moments in all of hardcore. The story surely warranted its follow-up EP Lost Ground, which brought with it the new aspects of war, racism and a fresh perspective in the Travels’ vagrant, the “prophet in plain clothes”. However, committing another whole fourteen tracks to the subject now just seems unnecessary- even lazy. Even further, it is destroying the sense of mystery the story offers.

Tabling the lyrical stagnancy, this really is a fantastic record. There is an elegantly understated groove that prevails throughout most of Empty Days, one which chimes the “melodic” bell more frequently than its predecessors, but quite satisfyingly so. “Dear Father” and “No Kind of Home” will drag you down a staircase or two of heart-wrenching vocal performances. And the violinist at the end of “Warm Blood Rush” might as well be playing the hairs on the back of your neck. Truly moving tracks, all. And even though Defeater’s sound has persisted since their 2008 debut, it doesn’t ever seem to get old.

Of course, part of that sound has also involved stopping abruptly and switching from screams and shouts to bluesy, folk-infused acoustic, and this record does precisely that. This has always come to the delight of some and the dismay of others. Personally, I have been among the former. Though I must say the transition into the four-song, acoustic side of the release, Sleepless Nights, does leave something to be desired- okay, a whole hell of a lot to be desired, Defeater continues to triumph in their fearless inclusion of this seemingly outlandish style. Derek’s voice is powerful, honest, and thrives in either environment. And I’ll be damned if “Brothers” doesn’t pull off a Johnny Cash influence better than most actual folk bands could.

There being so much done right on this record, it feels wrong to dwell on this one negative. Yet, it is so substantial a let-down that it bears my full scrutiny. Lyrics have always defined Defeater. Travels and Lost Ground were great at a glance, but also took advantage of a secondary “blow your fucking mind” effect in their stories. They have a solid jab and a cross to back it up. This album is more of a haymaker-type assault that mostly misses the, admittedly tall, lyrical mark. I have no problem with Defeater writing another concept album. What I do have a problem with is Defeater writing the same concept album, especially when it isn’t done as well as the first. Much like a joke that becomes less funny with each reiteration, so too do all the best Travels lines lose their majesty as Defeater grasps at the power they held.

I absolutely love this band, and they still do it better than anyone else. Empty Days and Sleepless Nights was a great listen. But, Defeater is too young and has way too much potential to be stuck on its own legacy already!

Should it be on my iTunes?

I have to admit, my expectations were through the roof with this one. Despite my heavy criticisms, it is easily worth its weight in megabytes, especially to any yet-to-be-Defeated melodic hardcore enthusiasts.

‘Recently Added’ to My iTunes: Conditions – Fluorescent Youth

‘Recently Added’ to My iTunes: Conditions – Fluorescent Youth

Mike Eaton — Thu, 10 Mar 2011 20:46:10 +0000

‘Recently Added’ to My iTunes

Conditions – Fluorescent Youth

On playlists with: Saosin, Thrice, Anberlin

I don’t mean to undermine the success of truly deserving artists, but it goes without saying that there is “marketing for music” and “music for marketing”. Far be it from me to say which among us are the body snatchers of mainstream musical integrity (I’m looking at you, Nickelback). But, I always go out of my way to find real expression. From all this blogspot banter about the ever-pejorative “radio-rock”, I guess I’m not alone. And tuning into FM-radio, it is no wonder that the modern music fan is so desperate to cut the umbilical cord of mass-media and rampage unchecked through the vicissitudes of cyberspace.

Enter: Conditions. My first discovery of this Richmond-based group was either a total fluke or the result of divine intervention by the gods of the internet, as I was mistakenly linked to their Myspace page late 2009. Luckily, I was in just such a mood to go with it, and it turned out to be quite the happy accident. I downloaded their latest EP (let’s say legally), was impressed, and made it a point to follow their career since.

It turned out that mine wasn’t the only head the young group managed to turn, as Fluorescent Youth, their first full-length, found its way into the very capable hands of Goodfight Records (founded by ex-Ferret Records owner, Carl Severson) and was released this past summer.

And what a release it is. Core fans and first-time-listeners alike should expect no disappointments here, as there is not a whole lot not to like about Fluorescent Youth. Conditions returns with its usual blend, that is, radio-friendly rock with something of a post-post-hardcore twist, mixing emotional dynamics, catchy choruses and effects-driven leads reminiscent of Thrice’s The Artist and The Ambulance. Although this sound is not a terribly original idea (ie. Saosin’s self-titled), Conditions manages to come away sounding somewhat comparable, and not like an all-out larceny. They also know how to take a simple power chord and turn it into a chorus that will inhabit your mind for weeks at a time, perhaps more so than the Saosin boys. But what really earns the band’s buzz is the style of vocalist Brandon Roundtree, whose delivery absolutely drips with sincerity.

Lyrically, the album boasts great variety throughout, with songs that inspire (“Better Life”), come clean (“When It Won’t Save You”), or just haunt your dreams forever (“Comfort Far Away”). Though, some tracks do hit home a little harder than others. The chorus of “… Made Ghosts” seems rather trite in comparison to that of the bolder “Natural Competition”. But, I do appreciate how well the record does inspirational without making me feel like I’m watching Aladdin. I also had no idea how badass a poppy-rock song could be until I heard “Miss America”, in which Brandon very unabashedly calls out against America’s vanity and superficial inclinations.

For as pumped as I am on the new record, it is ironic that my favorite track is actually the revamped “Keeping Pace With Planes”, which benefits considerably from its latest studio experience. And, along with a rerecorded “Illuminati, it details the evolution of the band, from its origins to date.

All in all, Fluorescent Youth is as polished of an effort as any of the genre’s heavy-hitters. Brandon knocks most of these tracks out of the park, albeit with an occasional stumble. In both production and musicianship, this is as solid as a contemporary debut rock album gets. And with such mainstream accessibility, you wouldn’t be ashamed to bring these boys home to meet Ma.

Should it be on my iTunes? Definitely. With this release and label behind them, expect to hear a lot more out of these guys. Pick up a copy of Fluorescent Youth at the upcoming AP tour.

Our Philosophy

Railroad Revival Tour: Concert Return on Attendance

Mike Eaton — Wed, 09 Mar 2011 19:45:56 +0000

Last year we wrote about a concept called Concert Return on Attendance (CROA) - the value that a concertgoer receives from attending a live music event days after the event itself. Now as the music industry progresses and bands experiment with new business models we are starting to see more and more examples of this coming to life. Take the Railroad Revival Tour for example…

This April, Mumford & Sons, Edward Sharpe & The Magnetic Zeros, and Old Crow Medicine Show will embark on a tour unlike any in recent memory. Traveling exclusively in vintage rail cars, the three bands will journey across the American Southwest over the course of a week. The aptly titled Railroad Revival Tour will feature the three bands playing concerts at six unique outdoor locations along the route, beginning April 21st in Oakland, California. – RailroadRevivalTour.com

I know what you’re thinking. Awesome. The concept is irresistible whether you like any of these bands or not. Old Crow Medicine Show happens to be one of our all-time favorites, so we’re drooling over new tour dates already anyway. Throw in some trains and it’s a deal of a lifetime. Big I digress. It gets better.

Tickets are $55 and there are no service charges. Awesome.
Children 5 and under who attend with a paying adult get in free. Awesome.
Tickets include a commemorative ticket and MP3 download of official Railroad Revival Tour live recordings. Awesome.
Commemorative tickets are $150 and include a limited edition Railroad Revival Tour poster by the brilliant Italian illustrator Luca Zamoc printed on canvas, all 6 commemorative tickets in a special package, and MP3 download of official Railroad Revival Tour live recordings PLUS special bonus tracks. What?!?! Awesome.

This tour has not been short on press; it’s been mentioned in dozens of high value publications and is gaining a tremendous amount of enthusiasm from live music fans across the country. I don’t know how the press is affecting ticket sales but what I do know is that this tour might have found a sweet spot in an industry that is desperate for innovation and enthusiasm. The Railroad Revival tour has elegantly combined a nostalgic experience with high concert return on attendance to stimulate ticket demand and elevate each band’s national awareness.

Are you as excited about this tour as we are?
Do the add-ons (CROA) play a role in your decision to buy tickets to an event like this?

Now Accepting Ideas

Mike Eaton — Thu, 30 Sep 2010 14:54:05 +0000

You’ve seen the new Showasis. You’ve reviewed your favorite bands, venues, and concerts. And you’ve made your voice heard. Now it’s time to do it again. We’ve opened up a Feedback forum for you to submit and vote on suggestions to improve the website. We’ll be the first to admit that we’re not perfect and there is a long list of improvements to be made in the coming weeks. However our first priority is implementing your ideas.

Look for the orange ‘Feedback’ tab on all pages or go to showasis.uservoice.com to submit and vote on ideas. You can also Tweet @Showasis with your feedback!

About

Showasis Launch!

Mike Eaton — Tue, 28 Sep 2010 14:37:12 +0000

We’ve been hard at work for what feels like an eternity. But now the day has finally arrived where Showasis is open for beta testers! Over the last few months you’ve submitted concert reviews, provided feedback on our website, and helped pioneer a new live music tool. Today that tool is ready and available to help you shape live music forever.

This afternoon you will receive an email from us with your login and password if you pre-registered for the website by sharing a concert review at Showasis.com. In that email you will find instructions on how to login, change your password, and begin building your very own live music profile! If you have any questions along the way, feel free to email us or post your questions and comments below.

Thanks to all for your patience and enthusiasm over the last few months as we all waited for Showasis to launch. Your passion kept us working hard through the night and pushing hard for this day. We would like to remind you that this website is yours – please take every opportunity to talk with us and help make it better. We sincerely look forward to talking with you and discovering how we can help improve your live music experiences!

Welcome to Showasis

Concert Return on Attendance

Mike Eaton — Mon, 17 May 2010 17:19:57 +0000

Live music is all about the moment. Whether it be when the lights go down, when you’re belting out your favorite song, or when the band comes back out for an encore- you find that moment that made it all worth it. But what happens after the moment? Concert tickets can be expensive and hard to find. And they only last a few hours. Is there some sort of residual benefit fans can receive from attending a concert? I think so.

I’d like to introduce a concept of Return on Attendance. Return on attendance (ROA) is the value that a concertgoer receives from attending a live music event days after the event itself. Kind of like a gift that keeps on giving. Some bands have a great return on attendance but many don’t. However by considering return on attendance bands can increase the value of their live music events in a way that ultimately drives demand and increases loyalty.

O.A.R. is a band that I think has a great return on attendance. Their shows are always original and organic. The band does a tremendous job of feeding off and reacting to fan energy. As a result their shows feel personalized for fans. Even when playing for consecutive days in the same city, each show is completely different from the last. However the band doesn’t stop there. They actually create a residual return on attendance by taking that organic event and empowering fans to benefit from it after the lights go out.

Consider one of O.A.R.’s recent live albums Rain or Shine as an example. Recorded at Charter One Pavilion at Northerly Island in Chicago in 2009, Rain or Shine features 37 tracks from the two day outdoor event. Can you guess what the weather was like those two days? It was an absolute downpour almost the whole time. Rain or Shine is a tribute to all the fans that stuck through the bad weather. Now released as a limited edition album, fans have an “I was there” token of fanhood that allows them to memorialize the event forever. A friend of mine who attended this event listens to the album obsessively and still to this day speaks about it with tremendous pride. It’s obvious her return on attendance for this show is pretty high.

Return on attendance goes beyond live recordings and event specific merchandise. Simply thanking fans through social media channels the day after a show gives fans an emotional type of ROA. By recognizing that fans helped make for a special night that was unlike any other, bands reward fans for their attendance and give them a sense of pride that they carry with them for the next week. Simple gestures like this increase ROA by extending the joy fans receive from attending a concert.

Finally, consider return on attendance as part of a loyalty program. Is there some long-term benefit fans can receive from attending live music events? A band can create incentives for fans to attend multiple events on a particular tour or even over the course of band’s life by rewarding fans for their attendance. The more you attend, the more you get. One example might be to hand out “puzzle pieces” to fans at shows that they can collect to unlock a special promotion code or a limited edition poster.

Bands should ask, “How will our fans benefit from attending this concert after the show ends?” Whether it be just putting a smile on fans’ faces for the next week because of an epic performance or through event specific merchandise, bands have an opportunity to drive loyalty and demand by improving return on attendance. Don’t just put on a show that fans forget about the next day- create events that extend “the moment” for weeks to come.

Great Quotes From Music Thoughts

Mike Eaton — Fri, 07 May 2010 19:12:50 +0000

Looking for some interesting quotes about music and art? Or just looking for some inspiration in general? You might want to check out musicthoughts.com, a website compiled by the famous Derek Sivers. Mr. Sivers is one of my role models and someone that inspires me on a regular basis despite the fact that we’ve never met. His collection of live music quotes is the best I’ve seen, and I think you’ll have some fun exploring them.

Visit musicthoughts.com and click “Random Thought” until your hearts content. Below are a few of my favorites. I would also encourage you to submit your own quotes to Sivers’ database if you have them.

“An amateur practices something until he gets it right. A professional practices until he can’t get it wrong!” – unknown from Mastery, by Barry Green

“People will forget what you said, people will forget what you did, but people will never forget how you made them feel.” – Maya Angelou from mayaangelou.com

“Some succeed because they are destined to, but most succeed because they are determined to.” – Henry Dyke from en.wikipedia.org

“I’ve never known a musician who regretted being one. Whatever deceptions life may have in store for you, music itself is not going to let you down.” – Virgil Thompson

“If you ain’t killin’ ‘em, maybe your point ain’t sharp enough.” – Kevin Welch

Did you come across any other quotes on this site or elsewhere that you fell in love with?

Top 10 Music Quotes

Cities With the Most Concert Reviews

Mike Eaton — Thu, 06 May 2010 21:26:27 +0000

A few days ago, we posted a list of the most reviewed bands on Showasis so far. (You can view that list here) Now, we’re taking a look at where most of the concert reviews are coming from. The original list was all big names that you’d expect to see on Billboard charts, but will the list of live music cities be just as mainstream?

Showasis Cities with the Most Concert Reviews

15. Vancouver, Canada – 8 reviews
14. Sydney, Australia – 8 reviews
13. Los Angeles, CA – 9 reviews
12. Kansas City, MO – 9 reviews
11. Denver, CO – 9 reviews
10. Atlanta, GA – 9 reviews
9. Uncasville, CT – 10 reviews
8. Tortonto, Canada – 10 reviews
7. Indianapolis, IN – 10 reviews
6. Washington, DC – 10 reviews
5. Nashville, TN – 12 reviews
4. Philadelphia, PA – 13 reviews
3. Milwaukee, WI – 16 reviews
2. New York City, NY – 20 reviews
1. Chicago, IL – 43 reviews

Our Thoughts

First of all, let me say thank you again to all the fans that have submitted concert reviews. We are incredibly grateful for the time you have taken to share your thoughts. This idea – this revolutionary innovation – couldn’t happen without your valuable input.

As for the list: not surprised to see Chicago and New York at the top, but Milwaukee, Uncasville and Kansas City are showing the world that they love their live music just as much as the big cities! We are also surprised to see so many international reviews, so thanks to Vancouver, Toronto, and Sydney for your efforts as well.

Our Most Frequently Reviewed Bands

Mike Eaton — Tue, 04 May 2010 21:25:15 +0000

One of our goals at Showasis is to collect as many concert reviews as possible. Using just Twitter and this page, fans like you have submitted over 650 concert reviews that are helping set the foundation for our new website. Recently passing the 650 mark, we thought it would be interesting to look back and see what bands people are reviewing the most.

Most Reviewed Bands on Showasis

(Last updated: May 4, 2010)

15. Pearl Jam – 7 reviews
14. U2 – 8 reviews
13. Demi Lovato – 8 reviews
12. Mitchel Musso – 8 reviews
11. All Time Low – 9 reviews
10. Pink – 9 reviews
9. John Mayer – 9 reviews
8. Green Day – 10 reviews
7. Britney Spears – 10 reviews
6. Honor Society – 10 reviews
5. Muse – 14 reviews
4. Jason Mraz – 15 reviews
3. Blink 182 – 18 reviews
2. Jonas Brothers – 26 reviews
1. Taylor Swift – 29 reviews

Our Thoughts

What do we think about this list? We think our fans are awesome. We are incredibly thankful for all the fans who have taken time to share their opinions with us and submit concert reviews. Each individual has shown tremendous enthusiasm for live music and Showasis, so thank you! As for the list of most reviewed bands: not a big surprise to see some of the names there. In fact this looks somewhat similar to the Billboard charts.

Thanks again to all the fans submitting reviews. Keep up the good work, let’s get to 1000!