This paper question “sense” in music on the basis of the old concept of “parole” from Saussure’s linguistics, expanding it to the field of “participation” – a field for which there is currently much interest. This theoretical backdrop will be embodied in a very specific “situation”, namely the development of artist-audience-stage interactive devices. Since the beginning of XXIe century, such devices have become a locus of a collective experience of art, including music. Following the works of philosopher Zask Joëlle (2011), we propose a semiotic protocol that allows us to analyze live concerts from the perspective of “parole”, namely an individual appropriation of “langue”, its individuation, its creation or re-creation. This leads to an exciting opportunity to reconsider our relationship to democracy through participatory concerts as potential agents for learning (or relearning) about our personnal engagement (or re-engagement) in the social and political sphere through art.