Our Connection to Content

Last week at SXSW, I was invited to sit down with Jimmy Chamberlin, the original drummer of Smashing Pumpkins, and CEO of LiveOne to discuss the future of music. Excited both because I was an early fan of the Pumpkins and I wanted to hear his perspective of the music-tech relationship given his transition from a full-time musician to a software company CEO.
Pepsi’s question to us (and the rest of the convention) was: what does the future of the music festival look like?
Jimmy and the Smashing Pumpkins spent years touring, they lived for the audience. Live shows were where they gained their energy, from the hum of the crowd. Even if early on that meant playing the parking lot of a thrift shop. A chance to play to fans was a gig worth taking. As the band’s popularity grew, it was more about finding more ways to reach more people at live events: bigger venues, more stops on the tour or just more nights performing.
They were constantly seeking ways to scale their reach and so it’s no surprise that he’s now running LiveOne, a livestreaming service that creates real-time connection for large events. Their crowdsurfing platform allows virtual attendees to join a chat room and connect with one-another while watching the real-time event. The goal is to help big names have a wider reach in real-time.
“Livestreaming tools like @liveoneinc create a venue that accommodates millions & millions of people” @jccomplex #futureofthefest
He comes from the top, a world-famous band that made sure to perfect each album before releasing. He provided the view top-down, big artist wanting to reach more of their existing fans. Proven content was looking to connect wider.
Given my time with USV’s portfolio companies SoundCloud, Splice, VHX and YouNow, I took the bottom-up perspective, the view of a creator who wasn’t well known but wanted to engage with new and existing fans. Unproven content looking to seed new connections.
There are of course cross-overs, Lorde got her start on Tumblr, Twitter, and SoundCloud. From self-publishing to international stardom in a year. Publishing, not with polish for her existing fans, but as a way to publish new creations.
“This time last year I was making a soundcloud, and a twitter, and a tumblr, all in the name Lorde. I had no clue what was going to happen with the music. I hoped it’d be alright.
Last night I played to a room of people whose name I worship, breathe like fine gold smoke, reverent. I realise over and over every day just how lucky I am to be here, and that’s down to all of you as well - regular people in dumb towns who make me feel so loved and strong."— Lorde
What is our relationships to content and connection?
Jimmy believes the fans come to a show for the music, an experience that isn’t lost when consumed digitally from your home or mobile phone because the music is what makes the experience. I agree, I spend my time going to concerts of bands I love to experience the music live. However, I also believe the medium of an in-person musical experience is worth pursuing, even if the music is unknown.
SoFarSounds has an international following and volunteer base who put on 1,000s of concerts a year to sold-out crowds. The events are held in local spaces, not formal theaters, and the band is unknown to patrons until they arrive. It’s not for the band, it’s for the experience. Would guests attend a livestream of the event if they didn’t know the band? The content may matter less.
Music and in-person concerts are cultural staples that have existing since the dawn of our time, but technology has made new ways to suss out what really provides the connection we want.
Attend a concert online only via LiveOne? Buy tickets to a show where the band is unknown via SoFarSounds? Participate in a real-time digital jam session in the days of Turntable.fm? Allow someone else to curate music to your mood via Songza? Remix with global artists in real time via Splice?
There are surely a mix of ways these pieces can be remixed in music that we haven’t seen–experiences: digital and physical; content: exciting, anticipated or surprising; and group participation: solo, small group or global audience. We’ll continue to seek and find new ways to engage.
What the music industry will teach us is how to think about other forms of real-time engagement. Chatter around Meerkat, YouNow and Periscope were abuzz at SXSW and beyond. Real-time user-generated video, is it about the content or the connection?
Direct access to content wins. High demand players like YouTube and SoundCloud provide on-demand services to consume a very particular piece of content on your own.
Broadcaster connection wins. Meerkat allows you to connect with a single creator in real-time, on the broadcaster’s time schedule. You get access to that one person, or no one at all. The broadcaster is the motivation. Content can range from a Q&A to a broadcast of someone eating lunch.
Real-time connection wins. YouNow allows you to connect with anyone, whether you know them or not, just by visiting the site and seeking channels. The interaction with a live broadcaster, known or unknown, is the reason to be there. Content can range from music to conversation, watching someone sleep or connect with other broadcasters.
It’s getting cheaper to create and distribute content but figuring out how to do it well or where to invest time is very much up for debate. This year’s SXSW seemed to conclude that content is still king, but incomplete without considering the opportunity for connection. Our conclusion on where Music Festivals are headed? They will continue to swell in size, like Coachella expanding to accommodate 200k people over 2 weekends, and to shrink to the size of your living room like those at SoFarSounds.
We’ll continue to see interesting ways to remix new experiences through technology: scaled, mass, small, famous, mundane. There is attention to spend, how do you think creators capture it next?
Photo Credit: Sharing ideas about the future of music at @Pepsi’s #futureofthefest #SXSW (Thanks to Adam Posner).
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