Staying in, rocking out: Online live music portal shows during the coronavirus pandemic

Abstract

The 2020 Covid-19 global pandemic has greatly impacted societies around the world, where governmental strategies to curb and control the outbreak have resulted in citizens being unable to attend public businesses and spaces. For musicians who rely on touring as a dominant part of their income, the pandemic has had a hugely negative effect on their finances since they can no longer play face-to-face shows. However, a number of artists have turned to digital media to remedy this, performing online to audiences via Web 2.0 platforms. To better understand this cultural phenomenon, the article introduces the concept of portal shows that employ a converge between traditional live gigs, screen media and new media technologies. Analysing the textual, affective, performative and economic dynamics of portal shows, the article examines three differing case studies: Code Orange’s album release show on Twitch.TV, Beach Slang’s acoustic performance on StageIt and Delta Sleep’s in-store show on Instagram. In doing so, the article argues portal shows offer novel and nuanced ways artists and audiences can engage with one another through spatial convergence afforded by video streaming technologies and digital interfaces. Such live events also offer just-in-time fan engagement but does so within a digital transcultural remit, aiding the support of virtual scenes. As a result, the article expands on what is considered pandemic media and subsequent audience affective registers and enriches the study of the music industry’s engagement with digital media and wider convergence cultures more generally.

Tales of temporary disruption: Digital adaptations in the first 100 days of the cultural Covid lockdown

“…One of the organizers said: “The concerts I have seen … it became closer, in a sense, they talked about things that everybody could recognize, and people did it from home. It connected and made you feel closer to the artist.” In a similar vein, another organizer, also himself an artist, stressed that the digital concerts should not pretend to be what they were not: “Either you should use the potential of technology to create concert experiences that cannot be produced on a stage, or you should use the intimacy, the possibility to come home to artists, see their rehearsal spaces, join them outdoors and so on.” The points made by these informants echo the analysis of both ( Walmsley, 2016 , 2019 ; Rendell 2020) , who emphasize digital platforms as creating opportunities for a more intimate and close relationship between producers and consumers of culture.…”

“…In this paper, I am interested in analysing potential digital disruption of the cultural sector in the making , with the Covid-19 situation providing us with the relevant conditions to do so. The available studies of Covid-related digital culture is so far very sparse, with a notable exception being a recent article by James Rendell: «Staying in, rocking out: Online live music portal shows during the coronavirus pandemic» ( Rendell, 2020 ).…”

Exploring the Emerging Domain of Research on Video Game Live Streaming in Web of Science: State of the Art, Changes and Trends

“…From this perspective, managing the diversification of activities [152] is one of the most important challenges for the future. Although the major impact of the current pandemic on live streaming has yet to be fully gauged, professionals from other fields have already capitalized on the channels provided by these platforms to release music albums or perform world premieres; examples include the Code Orange album release on Twitch [153] or the live-streamed Travis Scott concert in Fortnite. It remains to be seen how copyright [144] or sponsorship [68] will be managed from now on.…”

Pandemi Döneminde Sanat Eğitimi

“…Bu araştırmaların; konservatuarlardaki eğitim uygulamaları (Palau, Mogas ve Ucar, 2020), Avustralya'da müzik endüstrisi ve medya (Brunt ve Nelligan, 2021), ilk ve ortaokul orkestralarında uzaktan müzik eğitimi (Hash, 2021), çevrimiçi canlı müzik portalları (Rendell, 2020;Vandenberg, Berghman ve Schapp, 2021), psikopatolojik problemler ve müzik terapi (Mastnak, 2020), pandemi ve müziğe genel bir bakış (Parsons, 2020), halk sağlığı ve müziksel iletişim (Lemaire, 2020), pandeminin ilk evresinde müzik eğitimi (Daubney ve Fautley, 2020), nöroloji ve müzik (Papatzikis vd., 2020), müzik dinleme ve dans etme, çalgı çalma ve şarkı söyleme, balkonlarda komşularla müzik yapma vb. icra pratikleri (Cabedo-Mas, Arriaga-Sanz ve Moliner-Miravet, 2021; Chlu, 2020), çalgı eğitimcilerinin öğretme pratikleri (Bruin, 2021), yaşam doyumu, sosyal medya kullanımı ve müzik dinleme pratikleri (Krause vd., 2021), Amerika'da müziğin geleceği (Botstein, 2020), bütünsel iyilik, algılanan stres ve yenilikçi müzik terapi (Giardino vd.,, 2020; Gaddy vd., 2020), alkol, sigara ve ilaç bağımlılığı ve müzik terapi (Situmorang, 2020), İran müzik endüstrisi (Semati ve Behroozi, 2021), müzik ve pandemide kişilerarası ilişkiler (Philippe, Schiavio ve Biasutti, 2020), müzik tüketim araçları ve Spotify (Yeung, 2020), pandemi sonrası Çin müzik endüstirisi (Gu, Domer ve O'Connor, 2020), popüler müzik ve pandemi (Lehmen, 2020) konularında yapıldığı görülmüştür.…”