Industry perceptions on potential digital futures for live performance in the staging and consumption of ‘music’ festivals.

Bossey, Adrian ORCID: https://orcid.org/0000-0002-9874-6323 (2018) Industry perceptions on potential digital futures for live performance in the staging and consumption of ‘music’ festivals. In: Events Education & Research: Coming of Age, the AEME 15th Events Management Educators Forum, 4-5 July 2018, Leeds Beckett University.

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Abstract / Summary

This presentation responds to a range of theory and industry reporting, to provide an informed narrative around emerging digital formats for performative activities at Festivals, and their potential impact on audiences.
Primary research was carried out with a sample group of influential UK based industry professionals:
• Melvin Benn; Managing Director of Festival Republic, promoters of Latitude, Reading & Leeds, Download and Benicassim Festivals.
• Ian Biscoe; Director of studiobiscoe.com, creators of interactions across theatre, dance and music.
• Paul Hutton; Partner in Cross Town Concerts, organizers of The Downs Bristol and On Blackheath festivals, and previously responsible for V Festival.
• Teresa Moore; Director of A Greener Festival and previously Head of Music & Events at Buckinghamshire New University.
• Steve Strange; International booking agent whose clients include Eminem and Coldplay, and co-founder of X-Ray Touring.
Open questions elucidated qualitative information around; technological influences on marketing / sales; the value of streaming / filming of performances; Tupac Shakur’s (holographic) performance at Coachella in 2012; holograms and networked performances; programming to incorporate additional digital content; opinions on entirely virtual artistes; possible digital futures for existing (and/or new) festivals; and the concept of ‘liveness’.

Video walls and live streaming were the least contentious formats, while virtual artists proved unpopular amongst music industry professionals. The apparent ubiquity of mobile devise ownership amongst festival attendees, and tendency for audiences to interact with performances using technology, suggest significant change is already underway.

Further research topics include; ‘liveness’ in making and receiving content; and potential applications of commercially available technologies.

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