Concerts in Second Life generally aim to reproduce the conditions of live music in real-world venues. The music itself, however, is made in the real word and streamed into Second Life, which problematises the idea of ‘live’ music. Rather than seeing it as irrelevant, Second Life residents have developed their own understanding of what liveness means, and the extensive debates through which this understanding has emerged illustrate the social construction of liveness in action. At the same time, technological limitations of the Second Life platform undermine the whole approach of reproducing real world concerts: the variable lag that is a permanent feature of Second Life means that accurate and predictable synchronisation of images, gestures, chat, and streamed sound is impossible. Co-authored by a musicologist and by the co-founder of the virtual band Redzone, and using one of Redzone’s performances as a case study, this paper argues that the most effective way to create liveness in Second Life is not to reproduce the conditions of real world performance, but rather to reconstruct liveness based on the technological affordances of virtual reality.

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