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Too loud is NOT subjective - OSHA has regulations. Especially with today's technology, there is no excuse for having stupid loud music. How many people here at TB have tinnitus? How many of them got it before they were old enough to know how/why it happens?
Concern over your hearing in not old and stodgy - it's smart. I'm 51, and have been performing and enjoying rock music for over three decades. I have my hearing, and like it that way.

Stryper in the 80's. I kid you not. I was used to loud concerts, but that was shockingly loud.
Too loud is NOT subjective - OSHA has regulations. Especially with today's technology, there is no excuse for having stupid loud music. How many people here at TB have tinnitus? How many of them got it before they were old enough to know how/why it happens?
Concern over your hearing in not old and stodgy - it's smart. I'm 51, and have been performing and enjoying rock music for over three decades. I have my hearing, and like it that way.
Well, in their defense, they had to play loud enough for Gawd to hear them.![]()
if they'd played down the road in cary there's a 95 db limit that's strictly enforced. maybe op should only go to those shows.OK, so what do you propose? OSHA should patrol concerts and tell them to turn down? Or, maybe a special "concert police force" that regulates volume levels at concerts. That would be fun.
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OK, so what do you propose? OSHA should patrol concerts and tell them to turn down? Or, maybe a special "concert police force" that regulates volume levels at concerts. That would be fun.
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If you get a chance to catch Mark Knopfler live, his live sound is about as good as it gets these days. I could use it a bit louder, but you'll probably find it just right. He also seems to play higher quality venues, not cattle barns. Also (prog guy) Steven Wilson's live sound is stellar, but a tad on the loud side. Everyone else is pretty much doodoo and no one seems to care. I guess a lot of folks don't know how good live music can sound.It's among the reasons I have no aspirations to gig. I go way back, so I have 60's memories of bands when I was a kid and before I fell into a classical career. Most people are in disbelief when I tell them Jimi Hendrix was quite listenable live. All the nuances, his delicate fills you'd hear on his recordings were all there. Both times I saw him I could easily carry on a conversation with the person next to me. The first time too was a fairly large venue, Chicago's Auditorium theater. The second was much smaller at the University of Illinois's Chicago circle campus but it was abbreviated due to equipment problems. That was 1967 and 1969 respectively. I'd say top volume was equivalent to a full orchestral tutti, maybe 110 decibels but on average, 100. Of course on both occasions there was no PA. That was not yet part of the live performance paradigm. The musicians on the stage controlled the sound. This pretty much was the same with The Byrds, The Soft Machine, The very early Fleetwood Mac, no women in the band yet and a few others whose names escape my memory.
I blame the Beatles, whose promoters in their infinite greed decided baseball stadia were the best venue for rock & roll. Enter the PA system, then of course enter the sound guy. Exit my butt from the seat.
I did give the modern approach a few chances. About 14 years ago my daughter, then 18 became interested, as I did, in the music of the Eels. I saw them perform Trouble With Dreams on Letterman and thought she'd get a kick out of seeing them live at the tiny Pabst theater in downtown Milwaukee. The Eels, I should add, bear no resemblance in their instrumentation or approach to Motorhead. For example, the aforementioned "Trouble" was scored for electric bass, 2 celli, drums, singer and glockenspiel with electric piano.
When we took our seats, which were well away from the stage, i wondered what the console was for in the orchestra pit. At the time, I knew nothing about electric music performance and its do- dads. From the get go, amplitudes were always on the threshold of pain. Neither of us could identify material, "do you know what this is?" "What?" "DO YOU KNOW WHAT THIS IS?" "Maybe Blinking Lights?" Most of the time though it was impossible to communicate through this ugly smear of pulsing noise. A year or so with my wife in Milwaukee again at Turner hall we saw They Might Be Giants and for crying out loud it was just as bad. Unidentifiable material as the 130 db or so they were fooling with flat-lined into a wave of noise. I did manage to see one successful popular music concert when we saw Suzanne Vega at 60's Hendrix volumes which meant her material was completely identifiable.
Unfortunately this has of course trickled into the practice of local bar bands so my wife's colleague at work who generously had this open bar birthday party at an upscale watering hole had to also have a live band . And though it was not their name could just as well gone by, Burst Eardrums. As an addendum, I notice most of the equipment conversations at Talkbass eventually drift to not sound quality but "how loud is it?"
I do apologize for the length of the post.
Like anything else. You set standards, and if they are violated, the band and venue are liable for damages.
If you work in a factory, airport, whatever, and OSHA standards are violated, the facility is liable. They also get fined. Simple.
Keeping concert volumes at a reasonable and safe level would not make the concerts any less "fun" - if anything, they would be more enjoyable. Someone should not have to choose between risking hearing damage and enjoying a concert. There have also been plenty of shows where even with hearing protection, people are risking permanent damage.
Focus was still twice as loud as Stryper. Just saying.Stryper in the 80's. I kid you not. I was used to loud concerts, but that was shockingly loud.
One other thing that has changed is that back in the 60's, people didn't seem to chatter as much. They were there for the music and knew how to shut up for the most part. I'm sure cannabis had a lot to do with that. Now concerts are alcohol fueled singalong parties.
I did once see the London Symphony Orchestra at the Royal Festival Hall in London. It was bones-shaking loud. I think it may have been Gayneh/Spartacus (it was a long time ago..).
It's probably the acoustics of the hall, plus the 'wall of sound' orchestra, but who would have imagined acoustic instruments could get to that kind of volume.
The opposite side of that is that I saw them at the Wolf's Den at the Mohegan Sun casino in Ct maybe 3 years ago, and they were so quiet that I had to strain to hear them.1989, Toronto - Blue Oyster Cult in a basement rock club called Rock n' Roll Heaven. I was actually driven out of the club, by the volume. It was so loud that I couldn't tell what songs they were playing. It was awful - disorienting and painful. They had enough PA to do a stadium show!
Unnecessary. OSHA measures sound levels in manufacturing areas, and if they exceed a certain level, the company is required to post warnings, and provide (and enforce the use of) hearing protection. They don't mandate the company "turn the equipment down".
Likewise, I'm all for all concert facilities posting warnings about sound levels, and suggesting the use of hearing protection. If they desire, they can go so far as to sell earplugs to those who want (or forgot) them.
I DO NOT agree that we need to "idiot-proof" the world. The next thing we'll hear is that we need to wrap everything on Earth in Nerf material so that no one gets hurt by touching anything.