[Digital Music] Concerts 2.0: the new video El Dorado?
Last September, the CNV (Center National de la Chanson, des Variétés, et du Jazz) published its circulation figures for 2010 and noted a 7% increase in the number of performances and 2% in the number of admissions. .
Measured figures of course, but which show that concerts, in reality, still have a bright future ahead of them. At the same time, the growth of the online music market (estimated at + 31% by 2015) and the success of video streaming platforms augur an almost inevitable change in the way music is consumed. It was therefore logical, ultimately, that online concerts were on the rise.
Video kills the live music stars?
Live or deferred, in part or in full, in limited or unlimited replay (VOD), and even backstage… A real ecosystem has thus developed on the web before, during and after concerts. Because it is now common knowledge: the concert, like the audio medium, has also become dematerialized.
Technical innovations in terms of capture have of course also played an important role: no need for professional equipment or indecent bandwidth to capture and share images.
As for the artists, they increasingly favor live video in their communication strategy. Because video, still today the only medium allowing to listen freely and legally to music (without paying a subscription), remains inseparable from the exercise live. A relatively inexpensive medium that also allows them to offer exclusive content and thus create a link with their audience thanks to interactive tools and an “enhanced” experience of their shows.
Today, it would indeed seem that the lived experience of the public is now at the heart of the strategic issues of concerts 2.0. We no longer only do a concert in a physical venue, but we do it “on the Internet” and “for the Internet”.
But will intermediaries, screens and technology in general one day be able to restore or even replace the real experience of a live performance? Can we “push back the walls of a concert hall”?
Towards an augmented experience?
The “Take-away concerts” from the Blogothèque , Arte Live Web , GrandCrew , Hiboo from Live , CS Session Live, Bass drum , SFR Live Concerts … of pure players traditional businesses, all are working to offer the viewer a unique live experience, without leaving home.￼
A few months ago, the conference MusicNet.Works # 2 also broached this subject with some of these actors in a debate dedicated to the evolution of concerts 2.0. And it is a fact, as Hugo Amsellem emphasizes: “there are real opportunities for creating use value and creating economic value which would make it possible not to consider innovation around the concert as a simple additional economy. “.
What are the possible economic innovations around the live? How to involve the music fan and monetize him on the web?
Several initiatives have recently emerged that attempt to answer these questions. Among them, the project “Special Engagements” jointly launched by Dell and Intel. A unique, technological and almost sociological experience which allows the public to take control of the concerts they watch (choose the last title of the set, ask the artist questions, etc.) through a dynamic host. Kicked off on August 20 in the United States, the fourth event will take place on December 12 in London with the dance-punk group The Rapture and will be broadcast live all over the world on the music platform. Noisey.com.
An initiative which remains isolated but which could nevertheless inspire more than one …
Canal Street: “original creators of original musical content”
At the national level, we were particularly interested in the free digital platform Canal Street , whose name is cleverly inspired by the famous New York street.
Edited by Canal + and specialist in urban cultures in the broad sense (music, hip hop dance, street art, video games, humor, extreme sports), Canal Street intends to transform the concert experience thanks to significant resources but also a qualitative and community editorial line. Towards 3.0 concerts?
Meeting with Gilles Freissinier, editor-in-chief, and Youri Cviklinski, responsible for the retransmissions of concerts and live session of CANAL STREET: