Streaming Stimulates the Live Concert Industry: Evidence from YouTube

Christensen, Finn Erland

doi:10.1016/j.ijindorg.2022.102873

Cited by 7 publications

(9 citation statements)

References 30 publications

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“…As forms of leisure consumption, live and virtual festivals coexist (the latter either on streaming or through virtual reality); but both types of experience should not be seen as competitive. Streaming platforms have somehow also stimulated live music (Christensen, 2022) and vice versa (Ali et al, 2021). Various attempts have brought and promoted technology with the aim to improve the experience by hosting an immersive online live music experience from home (Lee et al, 2022).…”

Section: Conceptual Frameworkmentioning

confidence: 99%

“…Moreover, from a marketing point of view, attendance to virtual performances is a new source of information in creating a better segmentation, offering content to viewers based on their interest, and deliver a better experience for music lovers (Green, 2023;Ouazzani et al, 2023;Terroso-Saenz et al, 2023). Some well-known festivals and orchestra groups have used streaming services to broadcast and promote live events in the past (Christensen, 2022;Finland, 2020). Both before and during the outbreak of COVID-19, many music channels have been creative in organizing immersive online performances for musicians, and new rivals have joined the space (Ahn et al, 2020;Christensen, 2022;Krasikov, 2022;Nie et al, 2021).…”

Section: Introductionmentioning

confidence: 99%

“…Because of this new landscape, scholars and managers should question themselves on this cohabitation of live and VMFs (Christensen, 2022;Montoro-Pons et al, 2021), and consumer researchers should deep their understanding of the specificity of attending virtual festivals, both in streaming and with virtual reality.…”

Section: Introductionmentioning

confidence: 99%

“…Some well‐known festivals and orchestra groups have used streaming services to broadcast and promote live events in the past (Christensen, 2022; Finland, 2020). Both before and during the outbreak of COVID‐19, many music channels have been creative in organizing immersive online performances for musicians, and new rivals have joined the space (Ahn et al, 2020; Christensen, 2022; Krasikov, 2022; Nie et al, 2021). Twitter, Facebook, and Instagram have appeared as prominent artist sites, with some virtual events garnering higher than 100,000 live views (Srivastava & Downs, 2020).…”

Section: Introductionmentioning

confidence: 99%

“…Because of this new landscape, scholars and managers should question themselves on this cohabitation of live and VMFs (Christensen, 2022; Montoro‐Pons et al, 2021), and consumer researchers should deep their understanding of the specificity of attending virtual festivals, both in streaming and with virtual reality. Specifically, a research gap is open on how consumers think, feel and act toward VMFs, and how the two experiences may differ in terms of cognitive, affective, and social dimensions.…”

Section: Introductionmentioning

confidence: 99%

See 4 more Smart Citations

Consumer value of virtual music festivals

Gallarza,

Tubillejas‐Andrés,

Samartin

2023

Int J Consumer Studies

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Virtual music festivals (VMFs) are a great opportunity for the music industry to improve high quality digital events; as an alternative consumption phenomenon, VMFs can reach hybrid audiences and help in the challenge of digitalization. This study aims to investigate the multidimensional structure of consumer value in VMFs (intra‐variable perspective), as well as the effects of value on cognitive versus affective satisfaction and loyalty (inter‐variable perspective). Using a qualitative–quantitative approach—focus group and survey with festival attendees (n = 246)—, a value structure of VMF is tested with partial least square–SEM as a reflective‐formative‐formative third‐order model. Benefits and sacrifices are second‐order constructs, while five positives (escape, novelty, enjoyment, musical content, and socialization) and two negatives (monetary and nonmonetary costs) are first‐order ones. Results show VMFs value as a multidimensional trade‐off, where socialization is not contributing to value, but a balance between cognitive (musical content) and affective (enjoyment, and less escape and novelty) exists. Furthermore, consumer value intensifies both cognitive and affective satisfaction, but just the former affects loyalty. These findings provide new insights to better understand the decision‐making processes of virtual festival attendees.

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Section: Conceptual Frameworkmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

Consumer value of virtual music festivals

Gallarza,

Tubillejas‐Andrés,

Samartin

2023

Int J Consumer Studies

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Assessing complementarities between live performances and YouTube video streaming

2023

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Digitization and increased accessibility to recorded music have made revenue-generating activities increasingly tied to live performances. In this context, identifying the full impact of concerts (namely capturing the value of activities that emerge as a consequence of them) is of primary interest to assess the sustainability of the different music ecosystems. This paper analyzes spillover effects from playing live to YouTube video streaming. A sample of 190 artists performing in two international music festivals in years 2016 to 2019 has been selected, and the temporal patterns of online video searches for each one have been collected. Using a regression discontinuity design, results show a discrete jump of the YouTube search index for the average performer in the sample after playing live. Furthermore, there is evidence of a gender-specific effect: female performers experience a greater increase in YouTube searches. Though exploratory, this gender bias is consistent with potential theoretical explanations to be explored. Overall, findings provide causal evidence of the effect of live performances on a related but different market (i.e., recorded music), which underlines how technological disruptions may enable alternative revenue sources for musicians.

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Front row or backstage? Evidence on concert ticket preferences from a discrete choice experiment

Thompson

2024

J Cult Econ

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Sophisticated ticketing practices have become widespread in the concert industry in recent years, with a wider range of musicians now experimenting with different ticket pricing schemes. The aim of these practices is to help musicians manage ticket capacity and maximize their concert income. However, there is limited evidence on how musicians can optimally allocate and price tickets with respect to how consumers value different ticket attributes. This study uses a stated preference discrete choice experiment and choice modeling methods to analyze consumer preferences for different attributes of concert tickets. The results of the modeling exercise highlight patterns in consumer preferences across different seating areas within a hypothetical venue, as well as average preferences for other common attributes of concert tickets. Finally, this study provides evidence of the significant welfare consumers derive from the availability of new ticketing innovations in the form of VIP packages.

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Streaming Stimulates the Live Concert Industry: Evidence from YouTube

Cited by 7 publications

References 30 publications

Consumer value of virtual music festivals

Consumer value of virtual music festivals

Assessing complementarities between live performances and YouTube video streaming

Front row or backstage? Evidence on concert ticket preferences from a discrete choice experiment

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