A usable surveyed sample (n=246) was carried out based on convenience, similarly to other studies on festivals (e.g., Akhoondnejad, 2016; Pérez-Cabañero et al., 2022; Rivera et al., 2015). We followed a non-probabilistic purposeful sampling method (Teddlie & Yu, 2007), according to the researchers’ convenience (one of the authors being a musician) and the pertinence of the subjects involved: music lovers who had attended both virtual and non-virtual festivals. Snowball sampling was pursued among music consumers on social media, including classical and non-classical preferences. Specifically, we used in non-specialized personal social media (i.e., Twitter, Facebook, and Instagram), as well as American music festival group pages on Facebook and Spanish professional social networks (i.e., LinkedIn). We used an online structured questionnaire by Google Forms, including specific information on the purpose and scope of the study (academic and non-managerial), estimated time for completion, and data treatment in accordance with General Data Protection Regulation (GDPR). The target population consisted of people who had attended a virtual live music event within the last two years. The aim being to collect different aspects (both cognitive and emotional, and positive and negative) of the VMF experience, no specific music audience was targeted (opera, rock, pop…) except for the virtual attendance to music performances, either in streaming or within virtual reality. A filter question was added in this sense, in the beginning, and those answering ‘no’ were led to the end of the questionnaire with a gratitude statement. After two waves (October 2020, and January 2021) and through snowballing, 865 people accessed to the questionnaire, mainly in the US and Spain, but just 246 responses were completed and valid. Respondents were asked to answer the questionnaire referring to the memory of the last VMF they attended.