Halls of fame are sites of cultural heritage, preservation, consecration and celebration. They are typically a form of heritage institution that ‘inducts’ individuals widely recognised for their significant contributions to a specific field. By the late 1990s, Danilov (1997) estimated that 272 halls of fame of one type or another operated in 11 different countries worldwide. While it is fair to assume that this figure must have increased in the last 20 years, and that the geographical reach of halls of fame would also now be more widespread, it is impossible to exactly count the number of halls of fame that exist and persist today, particularly considering that some of these institutions only have a presence on the internet (Buckley 2003). Halls of fame are primarily found in the field of sports (Danilov 1986, Buckley 2003, Friss 2006). However, over the last three decades there has been a growth in the establishment of popular music halls of fame. These were initially founded as a response to the absence of popular culture in museums (Buckley 2003). The more recent interest in popular music halls of fame can be linked to the contemporary fixation with the preservation of (popular) cultural heritage (Baker 2016). However, the financial tension placed on heritage institutions (see for example Leonard 2007, Baker et al. 2016a) can make the sustainability of halls of fame uncertain. For example, the Georgia Music Hall of Fame commenced inductions in 1979 but only had a physical presence, in the town of Macon (GA, USA), between 1996 and 2011.