When one thinks of popular music heritage, one thinks, perhaps, of celebrities being inducted into the Rock & Roll Hall of Fame, of The Cavern in Liverpool, museum exhibitions about popular music icons, such as David Bowie or Kylie Minogue, or even Joe Coreé’s burning of £۵ m worth of punk heritage on the basis that “punk was never meant to be nostalgic” (BBC, 2016). Although there are many recent examples of this kind of music heritage, research into how and why music consumption communities remember their heritage is scarce. And yet it is important that scholars should focus attention on this. It has to do, after all, with the sustainability and continuity of a community over the passage of time. Whilst consumption communities of various forms have been of significant interest to consumer researchers and marketers (e.g. Cova and Cova, 2002; Schouten and McAlexander, 1995; Muňiz and O’Guinn, 2001), much of the literature has focused on defining the characteristics of the different types of communities and the dyadic relationship between the group and the product/brand. There has been less research on specific issues such as how communities are sustained through the construction of their history and heritage. In this paper, we aim to contribute insights into consumption communities’ past by answering the research question: RQ1. How do musical communities remember their past? Our inquiry sits within a tradition of research that seeks to answer the question: “how do societies remember?” (e.g. Connerton, 1991). We take a broadly social and cultural perspective to answering this question, whereas previous work on cultural memory has tended to focus at the level of the state, the nation, or the large organisation, in this case, we focus on a smaller group with a specific, musical, offer. The heritage literature, to the extent that it has focused on music, has focused more on music celebrities and the mainstream, whereas this paper focuses on an independent band. Finally, the collective consumption literature has largely ignored social and cultural memory. This paper seeks to begin to close all of these gaps by designing an inquiry which generates empirical data to develop an understanding of this nexus of issues. We draw upon insights from theories of memory in culture, heritage, and consumption communities to frame an exploration of the phenomenon. Our empirical inquiry focuses on how independent English rock band New Model Army (henceforth “NMA”) and its fans set up a free-of-charge exhibition of its art and artefacts in collaboration with the local museum service in the metropolitan county of West Yorkshire, England. The event was entitled One Family – One Tribe: The Art & Artefacts of New Model Army. This was a collection of the band’s art and artefacts that reflected 25 years of the band’s visual culture, including original cover artwork, lyrics notebooks, stage clothes, instruments, merchandise, photographs, audience souvenirs, and press cuttings. We make use of data from interviews, photographs, video, documents, and observations to document this case.