The long-anticipated reunion of Take That and Robbie Williams and the unprecedented sales figures for their summer tour 2011 offer an excellent opportunity for scholars from a range of academic disciplines to discuss key issues arising from this contemporary popular music phenomenon. From at least the time of the Beatles, the break-up of a favoured band has had profound implications for fans, followers, and the music industry.
The convenors invite papers from any discipline which address the themes of break-up and reunion of popular music acts. We are particularly interested in papers addressing these issues in relation to Take That and boy bands generally but welcome any proposals that address these themes more generally in popular music. These themes could include but of course are not limited to:
What narrative structures characterise Take That's journey from their origin
to the present?
Which myths are embedded in the discourses on reunion?
How has Take That's own story become inscribed in their music and to
How does the break-up of a favoured act relate to trauma?
What psychological functions do reunions fulfil in the lives of fans?
What social functions do reunions fulfil?
How has the Internet functioned to maintain interest in bands that don't exist
Music Industry Studies
How has Take That's reunion been treated in the media
How does the trajectory of Take That's reunion compare to that of other boy/girl
band reunions (New Kids on the Block, Spice Girls, East 17, etc.)?
How are different reunions prepared and staged by record companies and
what impact have reunions had on record sales?
How successfully do boy bands negotiate the transition from manufactured teen
sensation to credible, established popular music act?
Which other popular trends in the present or past do such reunions parallel?
As boy band fandom is predominantly a female phenomenon, what role do
reunions play in the empowerment of young women?
What role does post-reunion fandom play in the life course of working women,
mothers, and wives?