The ILMC artists' panel returned, offering a musician's-eye view on everything from mental health to the proper filling for sandwiches
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Panel-by-panel highlights from PULSE, which took place with an all-star line-up of speakers at ILMC 33 today
By IQ on 03 Mar 2021
PULSE is an all-new platform that sits at the intersection of technology and live entertainment. A collaboration between ILMC, senior booking agent Mike Malak (Paradigm), and digital entertainment expert Yvan Boudillet (TheLynk), the first PULSE event took place at ILMC today (3 March), welcoming leading figures from both industries for a full day of discussion and debate.
Tickets for ILMC 33, which include all panels, including PULSE, available to watch back until 5 April 2021, are still available. Click here for more information.
The final Pulse session of the day, The Business of Live Tech, brought together industry heads to discuss emerging business models and new deals around tech and music.
One of the panel’s most interesting discourses was about the perceived fan-appetite for livestreaming before, during and after the pandemic.
Steve Hancock, Melody VR/Napster (UK) points out that fans’ demand for livestreaming was strong before the pandemic and will continue to be a valuable complementary offering to live.
“Just exclusively VR, we moved on to mobile smartphone and tablet in 2019, where we launched our real-time live technology at Wireless with Live Nation in Finsbury Park. We did all three days, multi-stage, multi-cam jumps and had 250,000 people coming through the app on the first weekend at that festival and it showed everyone that appetite was there.
“And as we introduced paywalls, as the market progressed, people were good with it. Livestreaming will never replace live but I think a hybrid, and marriage, of physical and digital attendance is, in my opinion, the way forward,” said Hancock.
Olenik ventured that the way to keep fans interested in livestreaming events post-pandemic is to offer bonus features
Lesley Olenik, Live Nation (US), ventured that the way to keep fans interested in livestreaming events post-pandemic is to offer bonus features for those watching at home.
“If you have a world tour that you’re planning and if the artist is open to it, giving people access to maybe like the rehearsals or the soundcheck and doing some sort of virtual meet and greet could appeal to fans around the world. Billie Eilish did a really cool video that was shown before her live stream with her crew and how they all work together to bring this show to life and like what an undertaking is and fans loved it,” said Olenik.
Justin Lubliner, Darkroom (US), agreed and warned that without features tailored specifically for at-home livestreaming, fans’ interest could waiver.
“Billie’s show was an amazing live stream experience: I think the differentiating factor between the one that we did [with Billie] and the one that I’ve seen from other artists was that it was created specifically to be watched behind a computer and a TV. Not to offend anyone but personally, I am less bullish about the general virtual concert space,” he said.
Cheryl Paglierani, United Talent Agency (US), echoed that thought: “There is going to be ways for us to create virtual balconies or virtual meet and greet experiences if they’re already doing you can add, you know more and maybe it’s through zoom or whatever platform so you know it helps the artist generate more revenue, as opposed to you know just the bodies that are in the building, that’s what people are discussing right now and trying to find the best solutions for, but I do think people will be willing to pay for it for sure.”
— The World Jam (@_Angela_Gil) March 3, 2021
Asking how to keep the fan at the centre of new virtual performance spaces, The New Fan Experience welcomed Sheri Bryant from virtual events platform Sansar, who spoke of the importance of connecting fans with performers while avoiding trying to compete with the live experience.
Livestreaming, said Driift’s Ric Salmon, is the “holy grail” for artists. “It’s a direct-to-fan format,” he said. “The ecosystem between the artist and the fan is complicated and there are a lot of mouths to feed in that process – [livestreaming] provides us with an opportunity to realign that relationship.
When choosing a platform, said Tommas Arnby (Locomotion), “you want to go where the fans are”. Streaming, he said, is about “creat[ing] scarce, unique moments. You want to really make something that blows the fans away – give them something they didn’t expect.”
Where the sector goes next, suggested Brandon Goodman of Best Friends Music “depends on the artist. It’s important for the creative to make sense with the artist – I don’t think artists should necessarily do what Billie [Eilish] did. For exampled, I loved the Dermot Kennedy stream – but I don’t think Dermot Kennedy in an XR world, like Billie, would be very on-brand for an artist like him.”
Trivium frontman Matt Heafy opened The Livestreamers’ Guide to Live Music by talking about his following on videogame-focused livestreaming site Twitch, where has more than 200,000 subscribers (many of whom also tuned into the ILMC panel).
While Heafy has been streaming on Twitch for years (including every Trivium show for the past three), “it took up until the pandemic happening for my channel to really take off,” he explained. It’s because of his putting in that groundwork, he added, that, “now that everyone’s stuck at home, they know to come and see what Matt’s been telling us about all this time.”
Julie Bogaert from Facebook spoke of the importance for streamers of having a “presence on as many platforms as possible,” in addition to Facebook and Instagram, “because they all have different audiences”.
For livestreamers, viewer engagement is key, added Heafy. “That’s what separates live from video. That viewer-streamer relationship is the big difference [between a live broadcast and] a video that already exists.
“It’s really that human element that’s important. I’ve heard it described as the Bruce Dickinson effect. Iron Maiden have been playing arenas for 20 years, but what he can do is make even the person in the nosebleed seats feel like the show is all about them.”
Building an audience on a platform like Twitch is “a grind”, admitted Wiktoria Wójcik of esports specialist InStreamly. “You have to prepare to stream to, say, every day, or once a week – you need to have a schedule, and always deliver.”
Livestreaming, she added, “isn’t an easy way to be discovered, because you’re going live for a few hours and then you vanish, as it’s live content only. You have to have a place where you aggregate your fans and them push them towards your live streams.”’
Asian Agent’s Danny Lee, who works with a number of K-pop acts, described the subtle differences between the various platforms. For example, “Instagram Live is very immediate,” he said. “People just go right into it. Whereas on something like V Live, which is a very popular Korean livestreaming app, a streamer may start out by just looking at the camera for five minutes.”
Livestreaming will not replace live, said Wójcik, but act as an add-on in future. “Even when we come out of this, there will still be people who can’t come to see you in person or come to your shows, so streaming will provide a way to connect with those fans.”
— Trish Brown (she / her) (@Trish_Brown) March 3, 2021
Pulse continued with Sweet Streams – Best in Class, which saw Lars-Oliver Vogt, Live Nation GSA, assemble leaders in the livestreaming space to share best practice and reflect on 2020’s standout events.
James Sutcliffe, LiveNow Global (UK), reflected on the success of Dua Lipa’s first ticketed virtual show, Studio 2054, which took place late last year and garnered more than 500 million views and 300,000 ticket sales.
LiveNow splashed out a whopping $1.5 million in realising the Dua Lipa project but big budgets are part of the company’s business model, said Sutcliffe.
“We’re not afraid to invest and I think it’s important for us to ensure that the quality levels of the content and the product that we’re putting out is high. And by us coming to the table with the willingness to invest and help curate these shows, it gives them the best possible chance of the end product being as good as you’ve just seen.”
Mike Schabel, Kiswe (US), enjoyed similar success with K-pop band BTS and their Map of the Soul On:e pay-per-view live stream, which saw 993,000 people across 193 countries tune in.
“How does livestreaming become more than just a promotional vehicle or novelty for mid-range acts”
Schabel says the most exciting thing about the live stream was “the number of innovations we’ve brought to the table for the audience” including multiple cameras to choose from, multi-language live closed captioning and Bluetooth-enabled light sticks.
However, the “live live” aspect of the shows was “an overwhelming challenge that everybody in this space knows”.
Speaking on the role of an agent in livestreaming, Natasha Gregory, Mother Artists (UK), says that while there’s been little financial gain, there’s been a lot to learn.
“I really wanted to get involved and find out how streaming works and how many tickets you can sell for a rock band, for instance, Idles who sell 2,500 tickets in London, and how that can reflect.”
“[Idles livestream] was at least six weeks of solid work and what you get out of it is minimal. I mean we did 12,000 streams but we did decide to use it more as a marketing tool,” she adds.
“It’s really about what can you do differently [with livestreaming] that makes it actually viable”
However, Tim Westergreen, Sessions Live (US), asked “how does livestreaming become more than just a promotional vehicle or novelty for mid-range acts?”.
“It’s really about what can you do differently that makes it actually viable, so that an average band can take advantage of what should be a great platform. You can do all sorts of different ticketing to offer the ability to connect with a band that the real world doesn’t allow you and unless you until you do that and do that in a scalable way, [livestreaming] will continue to be more elitist.”
Westergreen says that the monetisation of livestreaming for mid-range acts depends on two things: a fan and audience development platform as well as a monetisation mechanism similar to those tried and tested in gaming.
“How do you monetise engagement? That’s what gaming has done for two decades now it’s why, as an industry, it’s been so much more successful than music in the digital era.”
“It has only taken 10 months for fans to accept they have to pay for tickets to a live stream”
Fabrice Sergent, Bandsintown group (US), says: “There’s hope, and not just for the large artists”.
Sergeant says that last year Bandsintown listed 70,000 live streams last year, 75% of which were actually listed by artists of less than 100,000 followers.
Not only that but from July to October, the number of live streams that were ticketed jumped from 2% to 50%.
“For something that started as a free medium, it has only taken 10 months for fans to accept they have to pay for tickets to a live stream. When you think back to the time when music was pirated on Napster and it took 10 years for fans to finally accept to buy a subscription to music streaming.”
Pulse kicked off with New Technology Pitches, hosted by Steve Machin LiveFrom Events (UK), comprised of quick-fire presentations on the best new tech and innovation in the business.
First up, Arjun Mehta (US) showcased Moment House’s premium digital platform for live creators.
“How do you marry technology with culture? That’s the question at the heart of our approach,” Mehta says.
Mehta explained that Moment House was launched because he felt “a fundamental tool was missing from the internet”.
“This was never meant to be a replacement for a physical concert. We built it from the standpoint of ‘how do we craft the most compelling digital fan experience digitally?’… a brand new unit that’s fully complementary to the physical world.”
“How do you marry technology with culture? That’s the question at the heart of [Moment House’s] approach”
Mehta says Moment House is built on three core principles: “Number one is beautiful design – a beautiful user experience that really prioritises the fan. Number two is our messaging and how we frame Moment House to both the artists and fans as this new independent unit of a moment. The third thing is curating the sorts of artists on the platform…it’s very important to us that we took a top-down approach and brought some of the world’s biggest superstars onto the platform.”
Eight Day Sound then presented its Virtual Live Audience (VLA) technology, which “meaningfully reconnects audiences to the entertainment they love”.
“VLA is cutting edge proprietary technology that allows for seamless communication between presenters and audiences with low latency and high quality remote participants are displayed via video screens on site and the team can customise the layout.”
“The sky is the limit for the number of participants able to join VLA, which means that the audience is no longer limited to the venue, and there are opportunities for scalable ticketing sponsorship, advertising and other revenue-generating streams. You can maximise event profits.”
Next to the stand was Vladic Ravich, who told ILMC delegates how Bramble came to be.
Vladic and co-founder Salimah Ebrahim launched Bramble to offer “a more human way to gather online”
The company behind Bramble, Artery, started as a way to “connect people with cultural experience” by helping users set up secret events in their own homes.
When the pandemic hit, rendering Artery’s business model redundant, Vladic and co-founder Salimah Ebrahim launched Bramble which sought to offer “a more human way to gather online”.
“What makes Bramble a good gathering? The first thing is our proprietary fluid video technology, and if you haven’t seen this kind of spatial video and audio, it’s immediately intuitive.”
Bramble also offers a customisable performance venue that has hosted events including the House of Yes’s Halloween show as well as the Artist and Manager awards.
Next up, Param Kanabar tells ILMC delegates about Noq, a cashless and contactless ordering system that “looks at tackling queue management and issues around queuing at events”.
Noq is “a hybrid blend between a marketplace app as well as a branding solution”
“You just need a QR code specific to a particular event. This could be shared with customers, ahead of the event, whether that be through a website, social media, tickets, newsletters.
“Additionally, at the event, there’ll be multiple touch points, at the entrance, near the food zones. So when customers scan a QR code, they are taken straight to a festival landing page where they’re able to see all the vendors that are around them.
“This is great because there’s a lot of increase in folks being gluten free, vegan and vegetarian. Plus people have food allergies. So, communicating what you want in a busy festival and an event is difficult sometimes. And so from a customer perspective, having this and access to view everything that is around them is important.”
Kanabar says Noq’s unique selling point is that the app is “ultimately a hybrid blend between a marketplace app as well as a branding solution”.
Notetracks founder and CEO Kam Lal was next in line to deliver his pitch on what was dubbed ‘Asana for video and audio’.
Lookport is “the biggest video livestreaming platform in Eastern Europe”
The platform to share music, video, audio projects and gather feedback and notes.
“The problem we aim to solve is working on audio and video files remotely. Currently, you know the tools are very fragmented and there’s a disconnected workflow – it’s not very collaborative. So our solution is one workspace where you could review and collaborate in a seamless environment and gather feedback.”
Lookport’s Alex Wolf was next to the stand to tell delegates about “the biggest video livestreaming platform in Eastern Europe” which has hosted 150 livestreams throughout the pandemic and boasts more than 90 million views.
Wolf said the unique selling point of Lookport is that it provides a full service, from promoting the event, to producing it, to selling tickets, and then streaming the show.
“Lockport is a completely web based solution and you don’t need to then launch any specific application, we created our own web player so users can watch our content from any device. The player can also be embedded into any web page or landing site.”
“It is next to impossible today to receive audience data for an artist or event team all in one place”
Last but by no means least, Aivar took to the virtual stage to pitch FanSifter.
“It is next to impossible today to receive audience data for an artist or event team all in one place, in one format because data is locked into silos both in music and live. To get that data out of the silos is now more important than ever because, with cookie-based targeting and advertising sunsetting, artists and all the partners, management teams, promoters, labels, merch stores, even brands need to collaborate on these first party audience data sets, have to comply to GDPR and other privacy laws. FanSifter exists to solve this with a collaborative and privacy-compliant customer data platform.”
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