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Our current theme for this tour is ‘Home Swede Home’, with a backdrop of a house, fjords in the background, a grand piano and candelabra. (Leissle interview 2004) For the top tier of tribute acts with established credentials like Bjo ¨ rn Again, theatres are their ‘natural’ home in both an economic and conceptual sense. The tribute theatre (or pub/bar) performance must overcome the same problems confronting the large-scale musical discussed above: the construction of a dramatic piece that does not overly simplify either the emotional or historic authenticity of its characters.
1988) Music for Pleasure: Essays in the Sociology of Pop. Oxford: Polity Press. Frith, S. (1996) Performing Rites: On the Value of Popular Music. Oxford: Oxford University Press. Frith, S. and Horne, H. (1987) Art into Pop. London: Methuen. Giuliano, G. (1992) The Beatles: A Celebration, 2nd edn. London: Sunburst Books. Laing, D. (1985) One Chord Wonders: Power and Meaning in Punk Rock. Milton Keynes: Open University Press. Lash, S. (1990) Sociology of Postmodernism. London: Routledge. MacCannell, D.
Bjo ¨ rn Again’s management believe there are direct economic benefits for Abba in the international success of the tribute: I think [Abba] acknowledge the role we’ve had in their re-emergence. We looked into it, and found that [the greatest hits compilation] Abba Gold sells a lot more in towns that we tour, and so we can quantify that our tours promote their CD sales. It’s a case of scratching each other’s backs – but they don’t need us at all. If they wanted to wipe us out, they could – but it comes back to us meeting them early on, and explaining what we were about.