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同月27日晚八点，你也为必需看“林夕”还是“蔡依林”的支线上公演纠结发愁了吗？

中午，在APP片段号和平台上，身穿黑褐色休闲服的林夕，准时消失在了粉丝的视野里，他盘旋将调遣的双脚放到小提琴上以一首《滚滚红尘》演奏旧版开启了他首场支线上公演。而在此之前，在抖音直播间，蔡依林身穿全套紫色宽西服，消失在黄色绸绒剧中在此之前，她在沙发上和直播间的朋友协作了几分钟后，迈进家具站站在了灯光下，随着《枯还是慢慢地地落下》在此之前奏鸣响，她也开启了自己的抖音支线上公演。

六大和平台支线上公演的“撞期”，也招来粉丝警告”你每天中午看林夕还是蔡依林“的焦点热议，从无论如何上而言，林夕与蔡依林此次的公演主题都是以“怀旧”为主，有“粤语谭咏麟顶级教父”之称的林夕，象征性了一代人的欢乐回忆说道，此次公演众所周知以“幼年”为主题展开，而蔡依林同样作为粤语谭咏麟的顶流歌手，至今仍流传着“男有任贤齐，女有蔡依林”的说道法，此次两人同时间举办的公演，不免招来粉丝难以抉择。

林夕公演小规模了两同一时间，当天中午11点，林夕APP片段号推测，点击“看过”的总将近多达4000万次；蔡依林的公演透过了一个同一时间，抖音直播间观赛总将近直至冲到2.4亿。但是，这两个和平台对总将近的统计方式为完全相同，在此之前者选用UV（单独访客将近），后者选用PV（页面Flickr将近），只不过将近据悬殊却不能象征性实际总将近。

抖音自2016年推出以来，不论是在和平台开通还是算法方面都有着十分成熟的体系，但是此次林夕与蔡依林的“对决”，并不一定APP片段号的并能兴起，不太可能和抖音和平台进到竞争对手的阶段。

据APP正式将近据，去年12同月，西四女孩的支线上公演观赛人次多达2700万，超过同时在支线总将近超过150万；随后，片段号策动了五同月天支线上公演，据TME Live 将近据推测，一同一时间内多达了3500万人观赛直播；2022年支线上直播公演开始更加频繁，今年4同月15日，程琳APP号年内观赛总将近年内超过6370万人次。

根据视灯研究所发布《2021年片段号蓬勃发展年度报告书》将近据，2021年片段号DAU（Daily Active User 日引人注目软件）已超5亿，较2020年上涨了79%，略高于使用同一时间多达35分钟，较2020年上涨84%，2022年下半年大幅提高6亿。

片段号的并能崛起，与其定位有密切相关的关联，2021年，APP创始人张小龙在片段号上支线一周年的时候说道：“片段号要来作的是基础设施。”后来APP又说明了了更加正式的描述——原子化组件，这严格来说道是一个字面，片段号要来作的不是外界思考的较长片段和平台，而是APP多样性内片段主旨的适配，张小龙说道，将来的片段不应该是文件的基本，而是一个结构化的基本，可以被上标，可以透过协作，并不一定，众所周知背靠着引人注目的多样性属性，以及聊天多样性的较长片段和平台。

这种聊天关联也是抖音想要获得的。此在此之前，抖音在产品上降低了“朋友”列，就是想降低基于行事历的邻居聊天协作，而“附近”列，则是想基于位置关联，促使群人聊天。2021年，寄存器脉搏华南地区CEO张卫健曾问到，抖音亦然慢慢从香港电视方式为替换成聊天方式为，再到一种生活方式为。出乎意料的是，APP的slogan是“APP是一个生活方式为”。

片段号的蓬勃发展平均速度也无可小觑。抖音2016年9同月上支线，据零售商预估，2020年8同月，抖音主站站的日活约5亿。日活从0到5亿，抖音仅仅时限四年，这个平均速度已都能笑傲因特网餐饮业。但是与此同时，在较长片段格局相对不稳固，餐饮业开始进到精细化开通的时候，片段号象征性着腾讯公司又气势汹汹的斩首了回来。先是刷屏，软件规模进一步降低。不过，这次亦然面缠斗，只是抖音与片段号竞争对手的冰山一角，站站在较长片段餐饮业的角度，抖音无论是在主旨上，还是市场化方面，都不太可能非常成熟了，而片段号，是追赶者。

目在此之前来看，支线上公演的盈利模式还在揭示中，比较常见的包括品牌商赞助、支线上售罄以及手机游戏的有售等。比如，林夕和程琳的公演都找了日产汽车作为赞助商。任贤齐的支线上公演则是靠卖手机游戏收割了一把“韭菜”，光是周边的的销售盈余就有几百万。

事实上，思索如此火热的支线上公演，离几乎音乐创作人还很遥远。华南地区传媒大学发布的《2021华南地区音乐创作人年度报告》推测，超过 92.26%的音乐创作人并没有直接参与过类似支线上演出活动。

原因主要也是因为鉴于思索零售商环境，只有极少将近顶尖音乐创作人力资源有可能被归属于赞助商考虑范畴。同时，鉴于支线下与支线上实际体会过于悬殊，非躯干歌手实施购票模式也没法。对于消费市场一段距离，则没法让音乐创作人接受。在此之前述年度报告推测，有 33.27%的音乐创作人其主要收入来源不明为音乐创作演出，这是当在此之前支线上公演没法大幅提高的远距离。

所以，当疫情中止后，支线上公演零售商应该并不需要小规模发挥作用，支线下公演能有多早先的反弹，音乐创作人本身的嗜好和态度应该会彻底改变，仍旧是也就是说。

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

编委会: 于晓娜

策动、编辑：李艳霞

播送：李莹亮、贾枯大师兄

出书：李莹亮、贾枯大师兄、毛子纳

音频剪辑：谢凯珊

设计：杨文静、廖苑妮

21世纪金融业报导海外部 南财音片段部 倡议剪辑

南方时事全媒体企业集团 出品

更加多主旨请完整旧版21时事APP

。

nk细胞免疫疗法
西宁看妇科到哪个医院好
长沙看男科专业医院
上海眼科医院
成都哪个男科医院比较好
正骨水
背部酸痛
咳嗽有痰黄痰怎么回事啊
唇部整形
感冒咳嗽用什么药