This article addresses the growing global phenomenon of automated holographic concerts given by virtual pop stars called ‘Vocaloids’. Alternately acclaimed by music journalists as ‘the future of music’ and derided as ‘a robo-show, a concert simulacrum’, Vocaloid concerts across the past 10 years have sparked feelings of anxiety and prompted debate about the loss of human interaction at pre-programmed concerts. In this article, I extend Vocaloid research from recent work that addresses Vocaloid's creative online community into the middle of arenas of screaming fans, drawing on participant observation, reception history and live performance analysis in order to demonstrate the importance of participatory fandom in Vocaloid culture and its implications for 21st-century concepts of liveness. I argue that the creation of cultural meaning and the most significant interactions occur within the audience itself, when online amateur music-making communities intersect with participatory fandom at live concert events.

本文讨论了由虚拟流行歌星“Vocaloids”提供的自动全息音乐会日益增长的全球现象。过去 10 年，Vocaloid 演唱会时而被音乐记者誉为“音乐的未来”，也被嘲笑为“机器人表演、音乐会模拟”，但这些演唱会引发了焦虑感，并引发了关于在前 10 年失去人类互动的争论。编程音乐会。在这篇文章中，我将 Vocaloid 研究从最近的工作中延伸到 Vocaloid 的创意在线社区到尖叫粉丝的舞台中间，利用参与者观察、接收历史和现场表演分析，以证明参与式粉丝在 Vocaloid 文化中的重要性和它对 21 世纪的活力概念的影响。