Livestreaming Platforms

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

This week, the Most Wanted Music 2020 Conference took place in Berlin and next to COVID19 and minorities in the business, livestreams were one of the hottest topics. We distilled four perspectives.

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: (German only)

Juliane Kindermann (Agent / Chairman Booking United):

Took the view that livestreaming is nothing new and should therefore not be praised as the “new normal” or as a feasible substitute to missing live performances. She doesn’t sense a new economic sector in concert livestreams because from her point of view performances don’t make sense on screens. Furthermore, she criticised that livestreaming artists only reach existing audiences and don’t generate new fans, as opposed to concerts.

Complete discussion: (German only)

Panel of “AFEM Presents: Livestreaming – Get Played, Get Paid”:

Agreed that licensing music is not a top priority for the big platforms, at least not in certain genres. It was said that Twitch is especially harmful when it comes to licensing. It is still questionable whether revenue is coming through accurately, YouTube was criticised for its intransparent reporting strategy. The experts appealed to the visitors that music professionals and consumers should choose streaming platforms that work FOR musicians, not just use them. That platforms frequently perform copyright violations isn’t common knowledge to the audiences, but growing awareness in that regard can be perceived. Negotiation of rights will stay rather complicated although the issue is tackled from many sides with technology already. Especially music recognition is a growing field.

Complete discussion: (English)

Panel of “More than Music: The Motivation behind curating and producing audacious Live Shows“:

Some initiatives in the live sector aim to give a stage to underrepresented groups and are now confronted with the question how to do that when there is no stage happening and how to translate it into the online sphere. Especially the electronic music scene will be the one experimenting with new formats. Furthermore, festivals can attract a new audience from abroad via streaming.

Complete discussion: (English)

By Sophia Schmelz

Sophia Schmelz holds a master's degree in Cultural Economics & Entrepreneurship from Erasmus University Rotterdam. Her specialisation lies in music and mediated cultural experiences. She is the iniator of HollyWhat?.