Music on Facebook

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Socially Disconnected: Where the Grammys & Oscars Fell Short

Oscars: Billy CrystalFebruary has been a month packed full of television events that attracted much of North America, perhaps the world. From the Superbowl, to the Grammys and, last night, the Oscars, ratings smashing broadcasts have come thick and fast.

Records have been broken, talent celebrated, winners heralded…. 

So why do I feel that something is amiss?

 

Disconnect the Dots

We’ve established that there is a desire for fans to use social media to engage with television events.

From the trending topics on Twitter being dominated by TV shows on any given evening, to Facebook beginning to aggregate status updates into “## people talked about (insert event here)” style summaries, we can see that enthusiastic fans are utilizing social media to share their views on what is being broadcast. The conversation is rampant and swirling like a raging storm around the big events.

So why does the broadcast itself reflect none of this?

Why does watching the show on network television feel like the eye of the storm, so eerily quiet and removed from the passion circling around it? 

To my mind, it represents the substantial disconnect between traditional standards of broadcast media and the emerging concept of social media, of involving your audience in as many ways as possible. The tools and platforms now exist. The channels to your audience are ever-widening. Yet the will to travel up and down, making the show a two-way street is still found wanting. 

 

The Connection Is Made

Spider Web Connections

To give the Oscars due credit, their web presence offer fans plenty to dig their teeth into. From preview blogs to after-show video, Facebook fan questions to live tweeting the winners, the content is undoubtedly present to lure fans in deeper. The integration is what’s under scrutiny here. The curious relegation of fan passion to a side show, as the restricted Big Top basks in its own glory.

The Grammys made some effort towards this integration with separate performance areas for sets by Foo Fighters, David Guetta, Deadmau5 and the like, but it still amounted to a select few. The floodgates weren’t opened to the enthusiastic masses tweeting and sharing around the event in cyberspace. Even the live television broadcast was restricted in certain markets, leaving certain sections of music fans left out and frustrated.

The challenge to broadcasters is now to integrate as many of these media, as seamlessly as possible, for a diverse and two-way fan experience. 

 

Transmedia Momentum

This may seem like a pedantic moan, based on the fact that both broadcast and social media elements of these events were booming. Though I agree that progress is being made, is it not the remit of leading broadcast events like the Oscars and Grammys to push boundaries, to lead the way in engaging their enormous fan base and show other industries what can be achieved?

Shows like Bravo’s Last Chance Kitchen show what can be achieved when social media are smartly weaved into the fabric of a television program. Fans feel more connected, invested in the developments of the show, and return value is increased as a result of this investment. This trend towards transmedia – telling your story across multiple platforms, involving those who gather along the way – is gathering momentum among more niche programming and holds a lucrative future for those broadcaster that begin to explore and experiment with it in these early stages.

The passion of fans around the entertainment industry – or, at least, the creative talent that it supports – already exists. It is the envy of many other industries who find it much harder to fire up their audiences. Let’s use that to challenge the traditional one-way thinking of artist to fan, instead focusing on a more inclusive model in which fan passion fuels creativity in real time and their involvement breeds an ever-greater connection.

Photo Credit: T. Buchtele

Takeaways:

- Your fans are having a conversation with or without you. Jump in and be a part of it!

- Lasting connections and greater fan loyalty are built when you involve your audience in the creative process.

- Use the strengths of individual platforms to build an integrated experience across all channels. 

What are YOUR feelings on the Oscars and Grammys as an inclusive fan experience? Am I way off the mark here or do they need to involve fans to put on a better show?

How can you improve your web presence for fans through blending in more media?

 

Papering the Cracks? Why Adele’s 2011 Album Sales Mean Nothing

 

We’re back!

Adele '21' Cover

Adele’s ’21′ sold more than 5.8 million last year, with 1.8 million being full digital album sales. These are sales numbers that arrest a six year downward trend in album sales, since the year Usher sold a few million more of his ‘Confessions’ album.


The record industry is dead; long live the digital record industry!

In the snarky parlance of these Twitter-ing times: #NotSoMuch.

 

 

Exceptional Exceptions

In no way am I demeaning the achievements of my homeland heroine. On the contrary, the widespread mainstream acceptance of a bona fide musical talent, at a time when Simon Cowell’s mediocrity manufacturing line dominates the pop landscape, affords me renewed hope for the future of popular music.

But it is the very fact that she’s exceptional that makes Adele the exception, rather than the new rule for the recorded music industry.

Consider the wider environment of the year in which ’21′ broke:

  • CD sales continued to decline, down another 6% by Sound Scan’s 2011 numbers.
  • Digital sales were up and passed 100 million album downloads, yet the lower price point of these sales – sometimes as low as $1 or $2 – still sees downloads struggling to compensate for falling sales of physical product.
  • Streaming music sites, based on a subscription, ‘all you can eat’ model, began to spring into mainstream consciousness around the middle of the year. Albums popped on and off of sites such as Spotify, as artists like Coldplay and, indeed, Adele, decided whether or not such services cannibalize album sales.
  • Another massive sales story, Lady GaGa’s ‘Born This Way’ release, sold millions in a first week promotion at the deep discount price of just 99 cents on Amazon.com. This further diluted the validity of digital music sales as a barometer for the course of the record industry, with Billboard revising their chart conditions as a direct result.

 

Beyond this, there lie also the questions of cloud storage, digital lending, matching services such as Apple’s proposition (which can be seen as legitimizing past illegal downloads in user music collections), and myriad other digital services that will straddle the increasingly gray area between legal listening and infringing copyright.

In summary, 2011 saw massive upheaval in the ways we can listen to music, with many potential business models emerging but none clearly taking the lead. Against that backdrop, a few wildly successful individual albums can be seen as more of a life jacket for record sales, rather than the rescue helicopter that some make it out to be.

 

The Future

Future Music? Baby with headphones

 

 

 

 

 

 

Photo Credit: [(O)] Photography

 

So, where are we heading?

The only concrete positive to be taken from Adele’s example, in relation to recorded music sales, is that mainstream listeners will still flock in their millions when they hear true talent and passion in pop music. When an artist truly connects on a deeply human level.

What we can’t say is that digital download sales will save the day. Or that listeners are flocking back to music purchases after a decade of litigation from the major players in the industry.

What did offer hope in 2011 is that innovation and new modes of delivering music finally started to gain some traction. From streaming subscriptions to storage in the cloud, no one can say for certain that any of the providers will win out as the successor to physical recording sales.

But after over ten years of taking one step forward, two steps back, it’s encouraging to finally start accessing legal music through channels that befit the 21st century. Let’s hope it brings still more success for the likes of Adele, not to mention the thousands of artists eagerly playing away to follow in her footsteps.

 

And you?

How do you feel about the state of the record industry? Do you see a new business model emerging any time soon?

I’d also love to hear who still buys physical records, who downloads, streams etc. How do you prefer to get your music?