Document Type : Original Article
Authors
1
Master of Private Law, Faculty of Law and Political Science, University of Mazandaran, Babolsar, Iran
2
Professor, Department of Private Law, Faculty of Law and Political Science, University of Mazandaran, Babolsar, Iran.
10.22091/diplic.2026.14609.1039
Abstract
he "playback" phenomenon or pre-recorded music performance presented as a "live performance" has become one of the legal and social challenges in the Iranian music industry in recent years. This practice not only undermines the trust of the audience and music enthusiasts, but also affects the obligations of promoters and artists. The research at hand, using an analytical approach and regarding the domestic and international sources, examines the nature of playback and analyzes the resulting legal responsibilities. In this regard, questions arise, including: Can an artist's lip-syncing be considered an instance of misrepresentation? Should the affected audience file a lawsuit against the organizing company or against the artist personally to seek their rights? And finally, how can the pecuniary and emotional damages inflicted on the audience be compensated? Based on the conducted studies, it is concluded that presenting a playback performance under the title of a live concert is a clear example of breach of contract, misrepresentation, and causing damage, which leads to the violation of the audience's trust and constitutes deception and fraud in the performance. The audience can file a lawsuit against the organizing company based on contractual liability and against the artist based on civil liability. Compensation for these damages can be achieved through formal apology, refunding the purchased ticket, pecuniary compensation, and even organizing free “actual” concerts for the affected audience.
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