Disappointed that my question is not answered. I also would like to know what is going to be done about the system?

Do the strategies and skills for responding to racism and white fragility in live music environments differ from those in other scenarios? In other words, do concerts present unique challenges? If so, how? And how do we overcome them?

DB: These dynamics are systemic, show up everywhere, and any distinctions of how they show up in different scenarios, are at some level, academic. The personal work and skills for responding to racism showing up are also fundamentally the same.

So many tickets, especially the best seats for significant shows of a tour, are purchased through a lottery system. The people that purchase tickets in this manner are overwhelmingly white. This can be independently verified by looking at who is in the best seats of these shows. What can be done to bring racial equity to the lottery purchase system for Phish concerts? Do any of the three white people, or one asian person have any insight towards an answer for this?