This article is from WeChat public account:Hua Ying Capital (ID: MeridianCapital) author: Maher, Ho Lai core, the original title “ Video, social, live, consumerFees… What kind of imagination can “Music +” have? “, titled from: Oriental IC
In the past “Summer of Original Music”, from “Sound into the Heart”, “Chinese New Rap” to “The Summer of the Band”, more and more people began to listen to rock, rap, electronic and even classical. We also see some new trends at the industry level: “Hearing Industry” is gradually shifting to “Visual Industry”, the imagination and limitations of music social coexistence, the scene of live entertainment is waiting to be cut, the link to music to consumption More fluent…
Is music a good business? Where did the music industry go? We try to use music as a record and sampling of the times, to observe the spiritual consumption of contemporary young people, and to try to sort out the pattern and future of the music industry.
01 Music + Video: Music short video becomes the largest traffic pool
In the past “MP3 era” and “color ring era”, music can become the main form of outdoor mobile entertainment alone. However, in the current popularity of smart phones and mobile Internet, “music+video” has gradually become a richer and more three-dimensional entertainment experience, and “audio industry” has gradually changed to “visual industry”.
This trend first broke out in the long video space. As YouTube users grow in size, more and more viral music videos are produced on the platform, and most of the more than 1 billion page views are music videos. The scene of consuming music is different from the past. The migration of moving scenes makes the era of pure music no longer exist, which promotes the deep integration of music and video, and reverses the auxiliary role of music video in MV era.
In the field of streaming media, although mainstream music apps have social functions, the most prominent one is Netease Cloud Music. In addition, 4 of the APPs with the user preference index TOP10 have obvious community attributes, including 哔哩哔哩, 知, and TapTap.
After receiving the blessings of Ali and other partners, the community has become one of the most important strategies of NetEase Cloud Music, carrying its differentiation from other streaming media platforms. In the new version of the app, “Yuncun” appears at the first level entrance, and the content selection becomes a waterfall information flow based on the recommendation of strangers, and the user can browse by sliding. But whether it can make users change from “listeners” to “players” and participate more in interactions. Netease cloud music also has room for exploration.
In this exploration, pure “music social” products made a bolder attempt. For example, the event that came online last September is different from the products such as K-song and sing-along. The output content is more fragmented and gamified: singing two lyrics at a time, completing the work within an average of 20 seconds, you can participate in a game. . This kind of experience efficiency has a great appeal to the young user community after the 95s. It is said that in the official QQ group of the experience, the proportion of users after 00 reached 53%.
Although socialization has always been a slogan, it seems logical to cut through the vertical segmentation of the scene “music”, but the core issues behind music gamification are still facing challenges: the experience bias caused by the immature voice tone recognition technology The copyright issue brought about by a large number of vibrato songs, whether it can precipitate the real social, and whether it can further enhance the user’s stickiness.
But in any case, with UGC as the core and user social interaction as the connection, the concept of helping users to truly enhance the music experience and complete consumption will continue throughout the music social track in the future.
03 Music + Live: “Cakes to be cut”
Pulling the line of sight back to the offline scene, as the focus of Asian consumption and culture, the “potential cake” of China’s live entertainment market is still not fully tapped.
For example, the Japanese company “Summer Sonic”, as one of the Asian Head Music Festival brands, will hold music festivals in Osaka and Tokyo every August and attract 300,000 fans in 3 days. pressBased on the average fare of around RMB 1,000, the box office in the three days will exceed RMB 300 million, or it will exceed the box office receipt of the Chinese head live entertainment company throughout the year.
The Japanese live entertainment market behind this is now the world’s second largest market (after the US), in 2017 and 2018 The number of performances reached 31,674 and 31,482, respectively, and the box office sales reached 332 billion yen respectively (about 22 billion yuan) and 3450 Billion yen (about 22.9 billion yuan).
Compared with this, the Chinese music live entertainment market in 2018 is only 4.857 billion yuan. If the number of cities and the population base are taken into account, the penetration rate will be farther apart. In the first half of 2019, the track of the audio entertainment scene showed a trend of tightening. The reasons came from many aspects: the investment environment brought by the economic environment, the overall atmosphere of the society, and the new brand that was born in the 18 years of overheated market. Not enough sex. But at the same time, the market is also producing some good variables:
1. The music festival has more cooperation with the new retail and new consumer sectors. New consumer brand (such as e-cigarettes became the main force sponsored by the 2019 Music Festival) is actively exploring offline marketing scenarios, trying to build a younger brand image; /p>
2. The Internet platform regards music festivals as offline exports of its content. Mainstream stars and net reds with short video and live broadcast platforms are also appearing more on the stage of the festival;
3. The sinking market has become a must for live entertainment. The music festival has gradually become a new way to build brands and attract traffic in the sinking city.
The “Music Festival + Tourism” model is considered to be beneficial to create a literary explosion, so local governments and related cultural and travel units have become important investors and organizers of the sinking city music festival market – this model is in Europe Has been verified. Festicke, which is positioned as a music festival package service booking platform, received a €9.3 million D-round financing at the end of 2018, and the membership fee-based music festival service platform Everfest also received a 3.6 million Series A financing in 2017. These platforms primarily provide consumers with advice, discounts and exclusive services for their collaborative music festivals.
Looking at the domestic market, along with the music festival, there are also RV, camping and other products; in the absence of music festivals, Haitang Valley is still a regular tourism product for passengers to buy.
Similarly, Ctrip’s group tour and ticket section also have products related to the festival. Tongcheng Tourism cuts into the “Music Festival + Tourism Destination” market by investing in music from the media and music festival operators’ southern window culture.
But for OTA, how to make the festival a part of tourism in a large scale, how to improve the conversion rate and revisit rate of the package is still a challenge.
It is also worth mentioning that in addition to concerts and music festivals, the niche music market has been gradually opened up by the explosion of variety variety “Sound into the Heart”. Introduced by Jiuwei CultureInto the classic French musical “Notre Dame de Paris” from Shanghai to Harbin, through the performance of 68 cities in 5 cities, the box office all the way to sing, the venue caused French chorus, known as “the most musical in 2019” (42% of the audience is the first to enter the theater).
In addition to the repertoire itself, the derivation of “Notre Dame de Paris” is also a sought-after item for the audience, including silk shawls with printed “Cathedral Times” lyrics, rose window mosaics, three-dimensional paper-carved sticky notes, character series bookmarks, etc. Etc., on-site sales are often out of stock, completing the consumer link from content to Wenchuang products.
Overall, although the domestic music scene market is still far from the foreign countries, it is gradually opening.
04 Music + Consumption: Helping brand marketing, can also be transformed into a brand
Music marketing has always been a marketing method that brands love. According to data from trading firm Licensing International, global music industry-based retail sales in the year 2018 were $3.48 billion, up from $3.33 billion in 2017 and $3.08 billion in 2016. In China, the number of brand cooperation singles issued in the first half of 2017-2019 reached 17, 22, and 25 respectively, and brand marketing songs became the choice of more and more advertisers.
The domestic short video platform has also explored the possibility of commercialization of short music videos in recent years. The short video platform headed by vibrato has built many channels to help the music industry to more effectively contact the brand, so that musicians, music content and brand value are better presented. There are two reasons behind it: The creation of short video platforms is more diverse and fragmented. not only lowers the threshold of traditional music creation, but also makes the content more flexible. Creators can start from scratch and brand. Create together; Two large traffic and self-propagation effects make it easier to achieve virality.
In addition to assisting brand marketing, more importantly, music can also become a core cultural carrier of a brand and become a consumer brand itself. Such an example is particularly prominent in the field of “hip-hop-tidal cards”.
In the 1980s, street fashion brands almost drew inspiration from punk, heavy metal and hip-hop music. For example, Kangol and Adidas bound themselves with hip-hop music in the early 80s, Champion and Timberland because of Wu. -Tang Clan and Mobb Deep and other rap labels are popular. Then high-priced street brands such as Supreme, A Bathing Ape and Off-White began to rise, and personal brands created by music stars such as Kanye West, Rihanna and Beyonce were not far behind.
In September this year, the Forbes website announced the top 20 list of the highest salary this year, Kanye West surpassed Jay-Z, with $150 million (about RMB 1.07 billion yuan) pre-tax income for the first time to win the championship. Kanye’s personal trend brand Yeezy expects sales this year to reach $1.5 billion (about 106.6 billion yuan), is the sales of Nike’s global basketball shoe brand Air Jordan.
In the Chinese language brand, Chen Guanxi’s CLOT has also been a great success. Through a joint collaboration with a number of well-known brands such as Nike, Coca-Cola, Stussy and Medicom Toy, CLOT has successively debuted in New York and Paris Fashion Week, and has completely transformed from a clothing brand into a bridge connecting Eastern and Western cultures.
At the same time, the explosion of variety show “Chinese New Rap” not only brought hip-hop music into the mainstream music market, but also spread the style of this group of underground artists. For example, GAI’s set of Chinese wind crane embroidery sweaters made the Guochao brand Baylor House hot search; another national tide brand RetroVegas was sold out after the show was broadcast because of Bridge’s upper body.
From the perspective of music categories, hip-hop is more smooth than traditional rock and folk. We think the reason may be:
1. Hip-hop music itself emphasizes the spirit of “Real” and does not conceal the love of material and the worship of desire. This point can be seen in the different choices of the two new titles of “New Rap” and “Lexia”;
2. Rap is the art of emphasizing lyrics. The content is more rich and flexible. Customized advertising tracks can make the brand’s prominent way more effective. Rhyming and rhythm are easier to brainwash. Relatively speaking, fans are more tolerant.
05 Music + Technology: More Accurate, Fragmented, Multi-Scenario, Cross-Device, Predictable
Because music is the entertainment threshold and the lower cost entertainment content, the user experience can be realized in more different scenarios and different hardware devices. More and more technology companies regard music content as an important development in development. .
On the hardware side, smart sound, smartThe royalties of “Jodeci Freestyle” are published on the blockchain with the idea of IPO This article is from WeChat public account: CPT capital (ID: MeridianCapital) , of: Mach core Lai Ho, original The title “Video, Social, Live, Consumer… What kind of imagination can “Music +” have?