Download pdf
The Future Landscape of Live Entertainment in the Post-Pandemic Era
- 1 Boston University
* Author to whom correspondence should be addressed.
Abstract
The COVID-19 pandemic has led to a dramatic shift in how people consume entertainment, prompting a surge in remote activities and redefining traditional paradigms. As the world grapples with these rapid developments, a crucial and complex question remains at the forefront: can online live performances genuinely supplant the longstanding tradition of offline live concerts or shows? This paper delves deep into this evolving landscape, exploring the dynamic interplay between these formats while considering a multitude of factors. It considers audience preferences, highlighting how online concerts have proven financially lucrative but often lack the emotional depth of their offline counterparts, which, remarkably, continue to thrive and are even projected to surpass pre-pandemic revenue levels. Amidst these considerations, a new trend emerges with hybrid concerts, blending online and offline elements to cater to diverse preferences. In this transformative and ever-evolving environment, both formats coexist, offering artists and audiences a vibrant spectrum of options, ultimately reshaping the future of the entertainment industry.
Keywords
Coronavirus, music, concerts, live entertainment, virtual concerts
[1]. Fan Y, et al. (2021) The Sustainability of Online Concert and Live Concert. E3S Web of Conferences, 308, 1-10.
[2]. Cantor B. (2020) BTS "Bang Bang Con" Draws 50.6 Million Total Views, Peaks With 2.24 Concurrent Audience Members. Headline Planet. Retrieved from: headlineplanet.com/home/2020/04/19/bts-bang-bang-con-draws-50-6-million-total-views-peaks-with-2-24-concurrent-audience-members.
[3]. Ryu S, and Cho D. (2022) The Show Must Go On? The Entertainment Industry During (and after) COVID-19. Media, Culture & Society, 44, 591-600.
[4]. Breese J.L, Fox M.A, and Vaidyanathan G. (2020) Live Music Performances and the Internet of Things. Issues in Information Systems, International Association for Computer Information Systems, 23, 179-188.
[5]. De Jesus C.F. (2021) "Bang Bang Con: The Live" - A Case Study on Live Performances and Marketing Strategies with The Korean-Pop Group "BTS" During the Pandemic Scenario in 2020. Asia Marketing Journal, 22, Article 4.
[6]. Stassen M. (2020) K-Pop Stars BTS Draw Nearly 1m to Latest Pay-Per-View Online Concert - Banking Big Money in the Process. Music Business Worldwide. Retrieved from: musicbusinessworldwide.com/k-pop-stars-bts-draw-nearly-1m-to-latest-pay-per-view-online-concert-banking-big-money-in-the-process/.
[7]. Hwang Y, and Armen S. (2022) Life Goes On: How BTS Has Turned Virtual Live Concerts During the COVID-19 Pandemic into Showbiz Dynamite. Journal of the Music and Entertainment Industry Educators Association, 22, 77-109.
[8]. Mulligan M. (2020) Virtual Concerts a New Video Format. Retrieved from: www.midiaresearch.com/reports/virtual-concerts-a-new-video-format#overlay.
[9]. Kim C. (2021) A Study on Fan Platform - Based Interaction of Korean Idol Online Concerts. Cartoon and Animation Studies, 64, 583-610.
[10]. [10] PricewaterhouseCoopers. (2023) Perspectives and Insights: Global Entertainment and Media Outlook 2023-2027. Retrieved from: www.pwc.com/gx/en/industries/tmt/media/outlook/insights-and-perspectives.html.
[11]. Hong H, and Kim S. (2021) A Study on the User Experience of Online Concert. Journal of Digital Convergence, 19, 349-354.
[12]. Brown A S, and Novak J.L. (2008) Assessing the Intrinsic Impacts of a Live Performance. Youth Affairs Council Victoria. Retrieved from: apo.org.au/node/17240.
[13]. Choi J. (2021) BTS Embraces Vulnerability, Connects with Fans in 'PTD On Stage'. The Korea Herald. Retrieved from: www.koreaherald.com/view.php?ud=20211025001048.
[14]. Swarbrick D, et al. (2021) Corona Concerts: The Effect of Virtual Concert Characteristics on Social Connection and Kama Muta. Frontiers in Psychology, 12.
[15]. Mulder M, Hitters E. (2021) Visiting Pop Concerts and Festivals: Measuring the Value of an Integrated Live Music Motivation Scale. Cultural Trends, 30, 355-375.
[16]. Götting M.C. (2021) Concert Livestream Attitudes and Participation Worldwide 2020. Retrieved from: www.statista.com/statistics/1221280/concert-livestreamattitudes-and-participation-worldwide.
[17]. Frankenberg E. (2021) BTS Scores the Biggest Boxscore in Almost a Decade, Thanks to Four Nights at Sofi Stadium. Billboard. Retrieved from: www.billboard.com/music/chart-beat/bts-boxscore-sofi-stadium-1235005581/.
[18]. Li T.Z. (2021) BTS, LA Face-to-Face Through Concerts 4 Days Over 214000 People Collected Yonhap News. Retrieved from: www.yna.co.kr/view/AKR20211203159500005.
[19]. Dongre D. (2022) The Show Must Go On: Why the Future of Concerts is Hybrid. Rolling Stone India. Retrieved from: rollingstoneindia.com/the-show-must-go-on-why-k-pop-is-the-blueprint-for-virtual-concerts/.
Cite this article
Zhao,C. (2024). The Future Landscape of Live Entertainment in the Post-Pandemic Era. Communications in Humanities Research,24,150-156.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the 2nd International Conference on Interdisciplinary Humanities and Communication Studies
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).