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Abstract
This paper centres upon the concept, authenticity, within the context of a Celtic music festival. Increasing attention has been paid to the music–tourism relationship and this paper seeks to elaborate upon the contested meanings and dimensions of Celtic music in the wake of its commodification through tourism. Attention is accorded to the interlocking tensions relating to commodification and authenticity within music and tourism studies and, moreover, the role of emotion within the authenticity and music debate. Drawing upon empirical research conducted at a Celtic music festival (Glasgow, Scotland) comprising in-depth interviews and a questionnaire survey, it is suggested the festival audience attach authenticity to the music on the basis of their emotional interaction with the music. This occurs by the ways in which emotion is evoked within the music and the relationship between music, emotion and audience identities.
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Acknowledgements
Access to the festival site is acknowledged. The author acknowledges the thoughtful and constructive comments from the referees.