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The use of a strong local dialect by the group’s frontman, his ability to name-check local places and his knowledge about the region’s local culture, were all crucial to the rapport he shared with the audience and made his tongue in cheek references to issues such as the rivalry between Newcastle and Sunderland acceptable; lacking such local knowledge, a person from outside the region would almost certainly have failed to achieve the same level of rapport with the audience. The use of local imagery is another way in which tribute bands can imbue themselves with a sense of humour and highlight the parodic aspects of their craft.

There would be an element of people going, ‘Oh, I’ve already seen a band play the songs, so I don’t really want to see The Angels play’. (Angels’ manager and drummer Brent Eccles cited in Benedictus 2004) The Angels example brings us back to the harsher economic principle of ‘free riding’: tributes have the capacity to trade upon the original band and its many years of visibility in the marketplace. It also reveals the band as brand, and how it circulates as a series of signs, where ‘controlling the symbol or sign is often more lucrative than manufacturing an actual product with the sign on it’ (Negus and Pickering 2004: 67).

As with the live rendition of ‘A Day in the Life’, prior to the Bootleg Beatles’ performance, the complete rooftop concert had existed only in the imagination of Beatles’ fans. Through the hyper-reality of the Bootleg Beatles’ recreation of the event, however, this particular fan fantasy was brought dramatically to life. To cite a further example of how tribute bands use their creative licence to rework pop history, the Rolling Stones tribute band the Counterfeit Stones perform a selection of music from the complete Rolling Stones’ back catalogue.

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