Why does rock concert sound suck?

@curtdr >>>The studio monitors are designed, first of all, for the studio...well, you get my point<<<

No doubt about it. I'm familiar with nearfields vs standard home audio system speakers. I've been to the CES high performance audio rooms many times over, AXPONA in Chicago a bunch of times, a few official recording studios, and I've been a Radio Broadcast Engineer for over 3 decades (lots of studios and audio equipment involved with that!). I've taken it all in, and tried to recreate (within budget) all of the good things I've heard. Acoustics also plays into this big time. When it comes to audio, my ears and brain have about 45 years of experience involved here. I know what sound I'm shooting for. My point is, when many audio enthusiasts (I think I do like that description better than audiophiles) are trying to assemble a system that replicates live performance PA systems (I seem to hear that mentioned frequently), I'm shooting for a more recording studio sound quality. 

@waytoomuchstuff , Right Arm!...uh, I mean, On....*L* ;)

A few years back, Smashing Pumpkins played a local small venue louder than flesh 'n feathers could stand.  Inside, you could yell at lungs's top to the person next to you and not be understood...misunderstood, Yes...

"I NEED TO TAKE A PISS!"

(spouse) "WHA....? YOU WANT HIS WHAT??1"

3 deep on the sidewalk outside had a better 'experience'...*L*

At least Pink Floyd was enjoyable in contrast, even when the rain came and went....while it poured, the inflatable pig over the infield crowd appeared to be urinating on the people below, a goofy sight to see and recall even now.... ;)

@ the BMG 'The Complex' show attended @ CWP/HOU, smallish attendance for a not so large outdoor facility.  BMG show opens with a pair of reader boards left and right stage that initially started a conversation with each other.

One began to play the 'victim', a bit of bitch and moan about this 'n that.
The other taunting, being dismissive...generally a snot.

The conversation began to draw in the audience for yay 'n nays, which led into the performance...

Talk about an unusual 'warm-up' act....*L*

And some things should just be played loud, just because.
Volume to 12 and snap the knob off.

The Cult > She Sells Sanctuary is one....Prodigy's Narayan is another..

The latter has a nice 'growl' goin' from the woofs...

But....too much has this 'additive effect'....makes you play chit like this at the stoplight, windows down, cranked.....

Trampsta>Work

(Tell me it doesn't make you want to dance...yeah....*L*)

Coffeehouses and small venues are to my liking. Who needs hearing loss? I got on the board of my local coffeehouse some years ago just so I could get my mitts on the tape library. GREAT STUFF! 

That is one of the biggest reasons I walked away as fast as I could from Rock-n-Roll early on. In the 30s through the 50s we had a lack of high quality electronic equipment to work with then somewhere in the 50s we discovered dedicated sound engineers. They were mostly self-taught and not well versed in sound. They all had their own idea of how things should sound.  Thus we had to get creative with our listening environment by utilizing things like Graphic Equalizers. Though today there are actual schools teaching sound engineering, much of it is left up to the individual. Many artists have their own Special guy that they will used and who travels with them, then there are others who depend on the house sound man or a locally hired sound man hired by the promoter. We have much the same problems with the gear used. Even when I first traveled around with an early garage band doing their sound, though we brought our own gear, we were DICTATED to by the club owners or property management as to what we were allowed do with the sound. Ironically I have to agree with @dpop and don’t want anything in my system to colour or alter the sound but prefer to hear what the engineer heard and try to get into his mind. He was as much responsible for a Band or groups sound or style as the group.