Scenes A new lens for music marketing
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20,000 foot view: Entertainment consumption and fandom are fragmenting in the internet era as a result of the steady erosion of linear audiences, the rise of asynchronous consumption, and the increased sophistication of personalisation algorithms. Consequently, identity and culture are fragmenting as well. This has led to the emergence of new, internet-centric scenes: shared identities made up of cross-entertainment elements, including, but not limited to, music. Music marketers and A&Rs can use scenes as the new lenses from which to strategize campaigns and develop talent.
Key insights
- The average spends roughly half of their hours on entertainment, with the share going to video
- The steady of linear audiences, coupled with rise of asynchronous consumption and personalisation, are reducing mainstream ‘cultural while elevating niche ‘cultural movements’
- Music artist is fragmenting, as just of consumers have a favourite music and one-third orient their fandom songs over artists
- As listenership superstars account for a smaller of listening, with more ‘micro’ for individuals and their niches
- Because niche are typically more engaged, fragmentation be used as an asset
- Scenes are up of five key, cross-entertainment — symbols, icons, rituals, values, practices — which combine to a shared identity
- Music marketers A&Rs can begin treating scenes the new ‘territories’ in which deploy campaigns and develop talent
Companies and brands mentioned in this report: A Star Is Born, Bo Burnham, BTS Army, Building Stans, Chartmetric, Clubhouse, Discord, Drake, Dua Lipa, Electric Daisy Carnival, Facebook, FANMADE, Fan To Band, Fave, Geert Hofstede, Instagram, Kate Bush, Lady Gaga, Meta, Miley Cyrus, Niche, One Direction, Shazam, Spotify, Stranger Things, Supreme, The Sopranos, TikTok, Tinder, Tony Bennett, Travis Scott, Twitter, Wikipedia, YouTube