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Digital Concerts Livestreaming YouTube

Fact-Checking 7 Prospections About Concert Livestreaming from the Extraordinary 2020 (Part II)

This is the continuation of our first fact-checking publication.

Myth #3: [P]eople being willing to open their wallets and pay for these kinds of events (The Rolling Stone, 2020)

We’ve seen it in all kinds of shapes and (literal) dimensions: ticketed livestreams. Despite some troubles regarding the right pricing, they’ve become a thing for sure. Is this an effect of people wanting to support their favourite musicians through a crisis? Does it show appreciation for virtual experiences during lockdown? Is it the bridge between the previous era of free internet content and piracy to the proliferated use of paid premium services?

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Digital Concerts Livestreaming Statistics YouTube

Fact-Checking 7 Prospections About Concert Livestreaming from the Extraordinary 2020 (Part I)

The year 2020 was certainly one for the books. Looking back on this year I think we all can agree that it felt historic in many ways. Moreover, it was also historic when it came to virtual concerts and online music performances. Remarkable things have happened. Hence, it’s not surprising that several authors have come to the conclusion that livestreaming has had its breakthrough this year and that it will become a reliable new revenue stream for artists in the future. The big magazines appeared euphoric about livestreaming and virtual concerts as they recognized 2020 as a turning point:

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Digital Concerts Livestreaming

The Business Behind the Dua Lipa Studio 2054 Livestream

The past few weeks you probably didn’t get around noticing the talk about Dua Lipa’s video show that originally aired on November 27th on LIVENow. The Rolling Stone even postulated: “Dua Lipa’s Very Expensive Concert Is the Future of Livestreaming”. Absolute, universal statements in the area of livestreaming like this always bring me into the arena. So, I was wondering: is The Rolling Stone right?

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Digital Concerts Livestreaming Statistics VR

Studies About Digital Concert Experiences Incoming

I recently learned about a new research project that is dedicated to understanding which effects digital concert experiences can have on spectators. It aims to create a new data set on the issue by conducting various studies.

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Livestreaming Platforms

What is the Future of Music Livestreaming According to the Industry Experts from Most Wanted Music Berlin?

Jens Michow (Executive President Bundesverband der Konzert- und Veranstaltungswirtschaft (BDKV) e.V.):

Called the situation right now the destruction of the concert industry. The coming 12-18 months will not allow space for tours. Expects a recovery of the live music industry by the third or fourth quarter of 2023. He also said that most of the businesses won’t survive without (financial) support (nothing new here)… The live biz will be stronger than ever before, once Corona is history. In his eyes, livestreams (of performances) carry potential to provide added value to any event. Concert promoters will focus strongly on a “live plus digital” approach. In addition, he prospects that livestreams will be around as digital only offers more than before.

Complete talk: https://www.youtube.com/watch?v=hAXeFHn5uPo (German only)

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Platforms Statistics YouTube

What YouTube Channels Can Learn from the Failure of Quibi

A few days ago I stumbled upon the shut down message of a business I had never heard of before – Quibi. Quibi was trying to create a streaming platform with self-produced content and licensed movies in short episodes, all with the idea in mind to be mobile-first.

Quibi’s story
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Inequality Platforms Statistics YouTube

The Concept of the Platform Economy

As a YouTube channel you are most familiar with the platform, but if you look around you’ll notice that much of our daily life is by now happening on platforms. Uber provides for your transportation, AirBnb lists accomodations anywhere, Amazon is your one-stop-shop for nearly everything. What all of them have in common is that suppliers can use the platforms’ infrastructure to reach customers. They are the matchmakers between supply and demand and if they weren’t incredibly low-threshold to both sides you probably would’t run a music channel. This new level of participation especially on the supplier-side, in turn, creates much more competition, of course. In many cases, professional creators even compete with amateur creators, a situation that would’ve been inconceivable in Hollywood.

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