Bringing fandom to life: the rise of IRL superfan experiences

Much of the recent discussion around music superfan monetisation has focused on online superfans, especially as more superstars join fan platforms like Weverse. These monetisation strategies capitalise on fans’ growing desire for artist-fan interaction but often rely on artists’ active participation, adding yet another task to their ever-growing list of marketing responsibilities. Similar to how Eastern labels approach marketing and monetisation in ways that do not directly involve the artist, nurturing fan-to-fan interaction in addition to artist-fan interaction can create sustainable superfanbases without adding to the artist’s plate. Furthermore, focusing on fan-to-fan interaction can expand past – and even enhance – online engagement, creating new monetisation opportunities that allow fans to actively engage with each other and grow local scenes.

Immersive fan experiences are exploding in popularity

In-person superfan experiences are growing more common in the West, with labels like Geffen Records partnering with event organisers to throw official fan club nights, such as Olivia Rodrigo's GUTS album release party with Club 90s LA. These events already have an established presence in Asia, especially with K-pop artists. For example, HYBE pioneered “The City” project, which consists of city-wide festivals in places such as Tokyo, Jakarta, and Busan, themed around HYBE artists to coincide with their concerts. These events include photo exhibits, limited edition merchandise, and collaborations with local businesses. In 2022, HYBE expanded this project to the US with BTS: The City Las Vegas. Neither BTS nor Olivia Rodrigo attended their fan events, signifying a growing trend in which artists sponsor official fan gatherings but give the majority of control to the fans themselves.

Streaming platforms are curating fan experiences as well. Spotify, for example, has organised large-scale immersive experiences for subscribers, such as the upcoming exhibition “This Is Taylor Swift: A Spotify Playlist Experience” in Jakarta, Manila, and Seoul. This exhibition, described by Spotify as “a ‘love letter’ to what it means to be a Taylor Swift fan”, will explore Swift’s musical “eras” and offer fans an opportunity to “take part in a lyrical wonderland”, though Swift herself will not be in attendance. According to MIDiA’s Q1 2024 consumer survey, digital overwhelm is taking its toll on consumers, with two-thirds of those surveyed attempting to limit screen time and 23% turning to in-person activities as an alternative. As this trend grows, it is wise for digital platforms to invest in physical events that complement the digital experience.

How can these immersive fan experiences build strong superfanbases?

It is no secret that concert ticket prices are rising sharply. According to Pollstar, average ticket prices have increased 41% globally since 2019, with the average ticket costing $135.92 last year. While the highest-spending superfans are willing to pay a premium, rising costs will eventually alienate many fans, who may be no less dedicated but simply unable to pay such high prices. Moreover, as prices steadily increase, some high-spending superfans may soon reach the upper limit of what they are willing to pay. The cost of putting on live performances is growing too, so lowering ticket prices is not always an option. Instead, companies should explore bolstering concert revenue with other types of live experiences in order to still attract a wide market of paying superfans, while concerts are aimed at the smaller pool of VIP superfans.

Investing in alternatives to concert-centric live experiences will engage all levels of superfandom. According to MIDiA’s 2023 live music fan survey, 20% of the Bandsintown users surveyed were “live superfans” who spent above-average time and money on concerts. However, 31% did not spend much and rarely attended concerts – making up the largest segment of the sample (source: MIDiA Research x Bandsintown Live Music Fan Survey). While it is unlikely that these consumers will develop into avid concert attendees, non-concert live experiences can engage the more cost-conscious fans and unlock new monetisation opportunities for this segment. This strategy has already proven lucrative for labels and host cities – BTS: The City Las Vegas, combined with BTS’ four Vegas concerts, had an estimated economic impact of around $162 million (source: Arirang News).

Immersive activations, both in and out of the music sphere, have become common in recent years as a way to create strong memories for the consumer to associate with the brand. Similarly, in-person fan experiences allow fans to interact with the artist’s brand in a unique way – regardless of whether the artist themself is present. By expanding the scope of live experiences past concerts, companies not only nurture fan-to-fan engagement, but also cater to a wider variety of superfans – not just those with the most money to spend.