Investigating the monetisation of live streams of musical performances in the wake of COVID-19
Lead Research Organisation:
Middlesex University
Department Name: Faculty of Arts & Creative Industries
Abstract
Live performances are a vital income source for over 80% of musicians.[1] The COVID19 lockdown put a temporary stop to performances in concert venues, while social distancing measures are likely to restrict audiences for months to come, with regular attenders deciding to stay at home and venues having to reduce capacity to adhere to government regulations. The result is a severe loss of income for musicians.
Lockdown saw a number of musicians turn to streaming performances live from their homes and some continue to do so. However, while having the potential to make up for loss of earnings from other sources, these live streams are rarely being monetised. A shift in thinking about the value of live streaming performances needs to be instigated. Musicians expect adequate remuneration for the streaming of recordings (on platforms such as Spotify) and attach high value to live performances in physical spaces. Live performances in the digital sphere, however, do not, as yet, seem to carry such value for musicians.
COVID19 has the potential to be the catalyst for 'creative destruction', bringing into question traditional music industry business models while offering new ones. This research project will investigate optimum ways of monetising live streamed performances. The outcome of the research is an Open Access report for musicians, featuring best practice guidelines and focusing on the staging of virtual concerts; technical requirements; streaming platforms; methods of generating income; collaborations with venues; and online audience engagement.
The report will equip musicians with knowledge that they need to quickly and efficiently access new income sources from live streaming performances.
Key findings from the report will be disseminated to over 50,000 UK musicians by the project's partner organisations, including the Musicians' Union, the Incorporated Society of Musicians, and the Music Venue Trust, while the full report will be downloadable from a project-specific website.
[1] Musicians' Union, The Working Musician report, 2012
Lockdown saw a number of musicians turn to streaming performances live from their homes and some continue to do so. However, while having the potential to make up for loss of earnings from other sources, these live streams are rarely being monetised. A shift in thinking about the value of live streaming performances needs to be instigated. Musicians expect adequate remuneration for the streaming of recordings (on platforms such as Spotify) and attach high value to live performances in physical spaces. Live performances in the digital sphere, however, do not, as yet, seem to carry such value for musicians.
COVID19 has the potential to be the catalyst for 'creative destruction', bringing into question traditional music industry business models while offering new ones. This research project will investigate optimum ways of monetising live streamed performances. The outcome of the research is an Open Access report for musicians, featuring best practice guidelines and focusing on the staging of virtual concerts; technical requirements; streaming platforms; methods of generating income; collaborations with venues; and online audience engagement.
The report will equip musicians with knowledge that they need to quickly and efficiently access new income sources from live streaming performances.
Key findings from the report will be disseminated to over 50,000 UK musicians by the project's partner organisations, including the Musicians' Union, the Incorporated Society of Musicians, and the Music Venue Trust, while the full report will be downloadable from a project-specific website.
[1] Musicians' Union, The Working Musician report, 2012
Organisations
- Middlesex University (Lead Research Organisation)
- Arts and Humanities Research Council (Co-funder)
- Musicians Union (Project Partner)
- Incorporated Society of Musicians (Project Partner)
- SPARC (Sheffield Perform & Aud Res Ctr) (Project Partner)
- Music Venue Trust (Project Partner)
- Serious Trust Ltd (Project Partner)
| Description | 1 Livestreaming makes live music widely accessible A large market has emerged of audiences that are not able or reluctant to visit concerts in physical venues. The lower cost of 'attending' a livestreamed performance and the ability to attend without having to travel means that live music fans can now access live music concerts that they weren't able to experience otherwise. Individuals benefitting from this include parents with young children/single parents, disabled or elderly people, people with little disposable income, people living far from a city with music venue, and people suffering from claustrophobia or social anxiety. Crucially, this means that livestreaming concerts accesses audiences that are not reached by live concerts in physical venues. 2 Emotional engagement matters Both audiences and musicians highly value the emotional engagement that occurs during live performance. Livestream viewers that feel connected to the performer(s) and fellow viewers watch more livestreams, while those that don't feel connected watch fewer. As it is difficult to replicate the type of communication in physical venues, new ways of engaging emotionally during livestreams are emerging. Online audience communities are forming around regularly livestreaming musicians across all genres, with community members providing emotional support to each other. 3 Audiences are willing to pay The practice of livestreaming performances is still in its infancy and the value of livestreams is still under consideration. Tickets to livestreamed performances were seen as less valuable than tickets to performances in physical venues. However, audiences broadly agreed that livestreams should not be free to access and felt that the cost of accessing livestreams behind paywalls (i.e. those that can only be accessed through payment) didn't constitute a barrier to watching livestreams. There was particular willingness to pay for livestreams of good audio and video quality, for livestreams from locations that would otherwise be out of reach, and for livestreams that made viewers feel more connected with the performer and other viewers. 4 Musicians are dissatisfied with income generated so far Musicians' biggest concern about livestreaming was not being able to earn enough income to make it worthwhile, particularly in the light of initially having to invest in technical knowledge and equipment. While musicians with a large following are able to monetise livestreamed performances through ticket sales relatively easily, the majority of participating musicians were dissatisfied with the income they generated through livestreaming during the pandemic year. Livestreaming does have the potential to generate income for musicians, however, it needs to be seen as an additional rather than the main income source. 5 Livestreaming is here to stay A large percentage of musicians and attenders broadly agreed that once venues are safely open again, livestreaming will be a significant part of the music sector's landscape. There was also agreement from both groups that livestreaming will be a successful tool for reaching new audiences from geographical locations the artist has not toured to and for reaching new audiences that might be reluctant or unable to visit physical venues. Questions remain about how livestreamed concerts will be used within the music industry's ecosystem but there is little doubt that the format is here to stay. |
| Exploitation Route | Recommendations 1 Musicians • Musicians need to develop their livestreamed performance practice, engaging with attenders in ways the new format allows. • Musicians need to livestream regularly, at least weekly to allow for a gradual increase in attenders. • A shift in thinking about the value of livestreams and a move away from offering livestreamed concerts without any monetisation is required. • Musicians need to invest in technical equipment and knowledge, ideally enabled by government grants. • Rather than attempting to replicate the situation of live concerts in physical venues, musicians would do well in exploring the new possibilities. 2 Government • A grant scheme is needed, enabling musicians and music organisations to buy technical equipment and for acquiring technical knowledge. • An international livestreaming licensing review is needed. • Following on from COVID and Brexit, a government-funded livestreaming platform would enable UK musicians to showcase themselves to an international. 3 Industry • Venues and rehearsal studios would do well to invest in livestreaming equipment. • Technological innovation is needed to further develop real-time online communication during livestreams. 4 Academia • Research is needed to establish needs and expectations of musicians operating in specific genres. • Research into how communities are formed around livestreams is needed. • Once live music venues are fully open again, further research is needed into how livestreaming concerts fare in a post-pandemic world. |
| Sectors | Creative Economy,Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections |
| URL | https://livestreamingmusic.uk/ |
| Description | Report information was circulated by three partner organisations, the Musicians Union, the Incorporated Society of Musicians, and the Music Venue Trust, therefore bringing highly relevant findings to a range of UK musicians. The dissemination of the report has led to a change of practice for a range of musicians, with them using the information from the report to start, improve or monetise their livestreaming practice. However, further research if needed to gather evidence for a widespread change of practice. |
| First Year Of Impact | 2021 |
| Sector | Creative Economy,Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections |
| Impact Types | Cultural,Economic |
| Description | Presentation at Classical:NEXT conference, 18 May 2022 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Presentation at the international classical music business conference Classical:NEXT in Hannover, Germany, on 18 May 2022 The conference is attended by over 1,000 delegates from all over the world. Julia Haferkorn gave a presentation on the research findings of the livestreaming music research project, which sparked discussions about the best practices of livestreaming classical music amongst the audience, which was made up of practising musicians, performance and arts organisations. There was also a panel discussion about livestreaming music, with other panel members were Benjamin Woodroffe, President of the Global Foundation for the Performing Arts, Geneva; and Geoffrey John Davies, CEO and Editor-in-Chief of the Violin Channel. |
| Year(s) Of Engagement Activity | 2022 |
| URL | https://www.classicalnext.com/programme/programme_overview |
| Description | Presentation at ReWAGE gathering, 13 January 2022 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Presentation of findings of the livestreaming research project to a workshop by ReWAGE (the Renewing Work Advisory Group of Experts), an independent group, modelled on SAGE and designed to provide advice and assistance on work and employment to government as it tackles the impact of the Covid-19 pandemic. Good discussion of project findings. |
| Year(s) Of Engagement Activity | 2021 |
| Description | Presentation at The Culture Capital Exchange TCCE event on Performance and Covid, 2 March 2022 |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Presentation of research findings at the Performance and Covid event hosted by The Culture Capital Exchange. Lively discussion and engagement from and with delegates about online performances. |
| Year(s) Of Engagement Activity | 2022 |
| URL | https://www.eventbrite.co.uk/e/pandemic-and-performance-tickets-239037687157?mc_cid=b9fad786dc&mc_ei... |
| Description | Presentation at Where Now For Early Music conference, 27 June 2021 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Presentation by Julia Haferkorn on the findings of the livestreaming research project to delegates at a conference for early music performers and early music organisation leaders based in the UK. The conference was entitled Where Now For Early Music? and had been set up by the Brighton Early Music Festival. The presentation, presented as part of the The Digital Future segment, sparked a debate amongst delegates about the best practices of livestreaming early music performances. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.bremf.org.uk/event/where-now-for-early-music/ |
| Description | Presentation at international conference Music in the Digital Age, 9 June 2022 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Presentation of research findings at an international conference on Music in the Digital Age by University Koblenz-Landau, in-depth discussion with delegates on the future of livestreaming music. |
| Year(s) Of Engagement Activity | 2022 |
| URL | https://www.uni-koblenz-landau.de/de/koblenz/fb2/instmusik/kooperationen_und_projekte/internationale... |
| Description | Presentation at the Digital Summit by the Association of British Orchestras, 8 July 2021 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Presentation by Julia Haferkorn on the findings of the livestreaming research project to the delegates of the Digital Summit, as organised by the Association of British Orchestras (ABO). The summit was attended by representatives of all leading orchestras in the UK. The presentation sparked a lively discussion on best practices in livestreaming orchestra work amongst orchestral leaders, with many questions for the presenter on the livestreaming research. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://abo.org.uk/events/digital-summit |