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In her November 2002 review of a pop concert in Tehran which appeared in the on-line arts magazine tehranavenue.com, Naghmeh Taqizadeh reports on the ticket-buying frenzy which preceded a series of concerts by the up-andcoming Arian Band. Arian presented a total of 14 concerts over seven nights in Tehran’s Milad Hall. According to official sources, an unprecedented 28,000 tickets were sold in the first six hours and tickets were subsequently available on the black market at ten times the box office price.1 Describing the extremes to which some went to obtain tickets, a rather bemused Taqizadeh asks, ‘How precious can a concert be?’2 In this chapter, I attempt to answer this question by examining various aspects of Arian’s music, including some of the reasons for the band’s popularity and the ways in which the band uses the performative – and transformative – power of music to explore a range of contemporary issues. Drawing on analysis of lyrics, music and live performance, as well as personal interviews with musicians, audiences and band members, Arian’s music will be considered in the context of the post-1997 reform movement, an emergent youth culture and ongoing debates within Iran about the role of civil society and changing notions of national identity.3
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