CBN Friday Special丨Nostalgic online concerts bring new possibility for short video market

ike her live concerts in indoor venues, usually well-choreographed with stage set and a list of songs, Sun asked the viewers to choose their favourite songs of hers and she performed them with a live band. She also talked to the viewers casually, which made the night relaxed and spontaneous. Sun had her online show in a rehearsal room. She performed her hits, such as Believe, Kite and Encounter.

S: Lo’s virtual concert, which was streamed on Chinese social media platform, WeChat, attracted more than 40 million viewers during the two-hour performance. Nostalgic fans left real-time comments while watching the concert, expressing their excitement and their love for Lo, a cultural icon of their youth. Since the platforms calculated viewing results differently, Douyin counted the total views of Sun's event to be more than 240 million by 9:30pm. WeChat counted that Lo's show has attracted somewhere around 41 million viewers by 11:50 pm.

K: You’re right, the pandemic has undoubtedly brought enormous interest to virtual concerts, where the audience tries to regain a sense of community, and performers make up for canceled gigs. During the past two years, online concert has grown at a fast pace. According to an online music industry report released in March by iResearch, a leading provider of online audience measurement and consumer insights in China, the number of online concert viewers in March 2020 rose to 150 million, an increase of 30 percent compared to October 2019. In December 2020, the number of online concert viewers rose to 190 million.

For example, the popular Irish boy band Westlife held their first virtual concert through WeChat on Dec 17th last year, which attracted 27.9 million viewers. On April 15, when Chinese rock legend Cui Jian and his band performed online for the first time, more than 40 million people tuned in, which set a record for online concerts on Chinese social media platforms.

S: When the pandemic hit in 2020, the sudden necessity of live-streamed performances created a rush of attention from music lovers, who were spending much more time at home. Live-streamed concerts are leading the music scene this year in particular with the fast development of technology supporting online concerts and providing viewers with immersive experiences. Besides new live performances produced for online viewers exclusively, there is also re-screening of past concerts of pop stars, which is receiving warm feedback from fans.

For instance, on April 1, Hong Kong pop legend Leslie Cheung's last concert of his Passion tour in 2000 was remastered by using artificial intelligence and streamed online by Tencent Music Entertainment Group (TME), which attracted about 17 million viewers. On May 20 and 21, two concerts by pop icon Jay Chou－from Chou's 2012 Ferris Wheel tour and 2019 Strongest on the Surface tour－were rescreened through online platforms under TME, attracting over 70 million viewers in total.

K: And between the two major platforms hosting virtual concerts, WeChat and Douyin, competitions are getting fierce. WeChat Channels’ daily active users (DAU) have topped 500 million in 2021, a 78 percent growth year on year. WeChat has a user base that falls between Douyin and Kuaishou, and because the WeChat platform is built around social interaction, it will continue to grow.

S: I agree. Many people initially regarded it as another Tencent’s attempt to create a short video application, but more people are now realising it's not that simple. When asked about video online, WeChat founder Zhang Xiaolong responded that what they want to do is infrastructure, and later WeChat gives a more official deion called "atomisation components," which actually means what they want to do is not a video account link with the outside world, but a content carrier within the WeChat ecosystem. "Video account orientation is a way of life since the future of video accounts should be an organised form that can be tagged and engaged with,” he said.

K: That’s true. This kind of social relationship is also what Douyin wants. Previously, Douyin added the "friend" column to strengthen the social interaction of acquaintances based on the address list, while the "nearby" column is intended to promote the social interaction of strangers based on the location relationship. In 2021, Zhang Nan, CEO of Byte Dance China, said that Douyin is gradually changing its theme from entertainment to social life and then to a lifestyle. Coincidentally, the slogan of WeChat is "WeChat is a lifestyle".

S: According to market estimates, it only took 4 years for Douyin to build up a DAU of about 500 million from 2016 to 2020. And when the market of short video became relatively stable, WeChat Channels came back aggressively. But Douyin has already become very mature in terms of algorithm and commercialisation, and WeChat Channels is only up and coming.

There’s still a huge problem with profitability of online concerts. At present, platforms are still in exploration in how to make a profit out of online concerts. The more common ones include brand sponsorship, online ticket sales and selling merchandise. For example, both Lo Ta-yu and Cui Jian used automobile brands as sponsors in their concerts. Jay Chou's online concert made a huge profit by selling merchandise.

K: In fact, online concerts are still far away from most musicians. According to the 2021 Chinese musicians report released by the Communication University of China, up to 92.26% of musicians have never participated in this kind of online activity.

The main reason is that in view of the current market, only a very small amount of musicians are likely to be sponsored. At the same time, the difference between offline and online actual experience is enormous, it is difficult for infamous singers to implement the online model. The report also shows that 33.27% of the musicians' main source of income is music performance, which is a difficult goal for online concerts at present.

S: Well, that’s a whole different story for another discussion. Perhaps we could dig a little deeper about it some other time. That’s it for today, see you next week.

5月底27日晚八点，你也为选项看“任贤齐”还是“王力宏”的线上小巨蛋局外人发愁了吗？

隔日，在QQ音频号模拟器上，装扮灰黑色休闲服的任贤齐，准时如此一来次出现在了观众们的景深里，他缓缓将指挥的双手置于钢琴上以一首《滚滚红尘》演奏原版敞开了他首场线上小巨蛋。而同一时间，在用力音直播间，王力宏装扮全套白色宽男装，如此一来次出现在金色绸绒或多或少前，她在沙发上和直播间的朋友协作了几分钟后，走回地毯站在了灯光下，随着《雨还是跟著地落下》前奏响起，她也敞开了自己的用力音线上小巨蛋。

两大模拟器线上小巨蛋的“撞期”，也引为粉丝收到”你今晚看任贤齐还是王力宏“的话题热议，从并不一定上而言，任贤齐与王力宏此次的小巨蛋主题都是以“时髦”为主，有“两岸三地流行乐顶级教母”之称的任贤齐，代表了毫无疑问的真情回想，此次小巨蛋便是以“童年”为主题开展时，而王力宏值得注意作为两岸三地流行乐的顶流饶舌，至今仍传诵着“男有周杰伦，女有王力宏”的话说法，此次两人同时间举办的小巨蛋，不免引为观众们不易考验。

任贤齐小巨蛋停滞了两两星期，当天晚上11点，任贤齐QQ音频号显示，点击“看过”的伤亡人总共至少4000万次；王力宏的小巨蛋开展了一个两星期，用力音直播间进场伤亡人总共一度冲到2.4亿。但是，这两个模拟器对伤亡人总共的总和手段不同，前者用到UV（法理来访总共），后者用到PV（页面浏览总共），看似总共据有过之而无不及却无法代表确实伤亡人总共。

用力音自2016年推出以来，不论是在模拟器运营还是算法上都都看作十分明朗的体系，但是此次任贤齐与王力宏的“对决”，意味着QQ音频号的短时间内普及化，已经和用力音模拟器转回竞争性的阶段。

据QQ官方所总共据，上次12月底，西城男孩子的线上小巨蛋进场人次至少2700万，最多同类型伤亡人总共很低达150万；随后，音频号策画了八月底天线上小巨蛋，据TME Live 总共据显示，一两星期内至少了3500万人进场直播；2022年线上直播小巨蛋开始愈来愈加频繁，今年4月底15日，呐喊QQ号周内进场伤亡人总共周内很低达6370万人次。

根据视灯研究院面世《2021年音频号改变白皮书》总共据，2021年音频号DAU（Daily Active User 日活跃普通用户）已超5亿，较2020年增长低速了79%，人均用到时长至少35分钟，较2020年增长低速84%，2022年有望大幅提很低6亿。

音频号的短时间内崛起，与其相相比较于有密不可分的联系，2021年，QQ创办人张小龙在音频号上线一周年的时候话说：“音频号要花钱的是能源供应。”以后QQ又得出结论了愈来愈官方所的描述——原子化模组，这确实上是一个意思，音频号要花钱的不是确实理解的愈来愈长音频模拟器，而是QQ生态内音频章节的载体，张小龙话说，未来的音频不必要是明文的多种形式，而是一个图形化的多种形式，可以被标记，可以开展协作，简而言之，便是背靠着活跃的生态属性，以及人际生态的愈来愈长音频模拟器。

这种人际联系也是用力音渴望获得的。早先，用力音在系列产品上增加了“朋友”至多，就是希望精进基于通讯录的朋友人际协作，而“邻近”至多，则是希望基于右方联系，促进陌生人人际。2021年，bit跳动中国CEO张军曾透露，用力音恰巧逐渐从娱乐手段变成人际手段，如此一来到一种家庭手段。巧合的是，QQ的slogan是“QQ是一个家庭手段”。

音频号的改变低速也不容小觑。用力音2016年9月底上线，据美国市场估计，2020年8月底，用力音主站的日活约5亿。日活从0到5亿，用力音不太可能用时四年，这个低速已根本无法雄霸该网站服务业。但是与此同时，在愈来愈长音频既有相相比较稳固，服务业开始转回精细化运营的时候，音频号代表着腾讯又气势汹汹的杀了回来。一如此一来刷屏，普通用户现有有利于增强。不过，这次恰巧面搏斗，只是用力音与音频号竞争性的冰山一角，站在愈来愈长音频服务业的角度，用力音无论是在章节上，还是商业化上都，都已经十分明朗了，而音频号，是追赶者。

迄今来看，线上小巨蛋的盈利Mode还在探索中，相比较常见的之外品牌商赞助、线上门票以及机台的售卖等。比如，任贤齐和呐喊的小巨蛋都发觉了汽车品牌作为赞助商。周杰伦的线上小巨蛋则是靠卖机台播种了一把“韭菜”，光是区域内的销售利润就有几百万。

事实上，当下如此火热的线上小巨蛋，离大部分古典创作歌手还很遥远。中国传媒大学面世的《2021中国古典创作歌手报告》显示，很低达 92.26%的古典创作歌手并没有人积极参与过类似线上演唱活动。

因素主要也是因为鉴于当下美国市场环境，只有极少总共顶尖古典创作歌手才有可能被纳入赞助商选择范畴。同时，鉴于首期与线上确实体验显得有过之而无不及，非头部饶舌制定付费Mode也无法。对于电商方向，则无法让古典创作歌手放弃。前述报告显示，有 33.27%的古典创作歌手其主要盈利可能为古典音乐演唱，这是当前线上小巨蛋无法大幅提很低的目标。

所以，当鼠疫告一段落后，线上小巨蛋美国市场确实能够停滞存在，首期小巨蛋能有多大程度的反弹，古典创作歌手本身的喜好和态度确实会改变，仍旧是未知总共。

Executive Editor: Sonia YU

Editor: LI Yanxia

Host: Stephanie LI

Writer: Stephanie LI, JIA Yuxiao, MAO Ziqi

Sound Editor: XIE Kaishan

Graphic Designer: ZHENG Wenjing, LIAO Yuanni

Co-produced by 21st Century Business Herald Dept. of Overseas News & SFC Audio/Video Dept.

Presented by SFC

杂志主编: 于晓娜

策画、编辑：李艳霞

播音：李莹亮、贾雨武当

撰稿：李莹亮、贾雨武当、毛子奇

音轨制作：谢凯莎

设计：郑文静、廖苑黛

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