MAY | COVER FEATURE
probably more opportunity for artists. People are
making projections far above the industry size, so if
there’s not physical sales, you need to make it elsewhere.
Meanwhile, countries that had a big pirate market are
now seeing millions of streams, like the Philippines that
didn’t have the access before. There’s also artists in South
America that are bigger than the biggest US artists, but
they’re only just being discovered more widely.
“So while we’re seeing a slight demise in the big
headliner, we are seeing big artists emerging. This is a
time of friction and change. Social media is where artists
are exposed not so much TV like in the past”.
Adrian Dixon, one half of The Dixon Brothers (KISS
FM), adds: “It’s important to first establish the type
of headliner we’re ‘missing’. Are our worries borne
from looking for the live artist that fits the traditional
headliner box? As multi-genre DJs, we’ve definitely seen
the pendulum swing more towards the DJ/producer
performance than that of passed artists.
“I question if you had the opportunity to see Daft Punk
Main Stage at a festival, or your more traditional act, who
is going to give the best show for your money across all
avenues - performance, stage show, sensory overload etc?
“As the two worlds collide we’re seeing both take
influence from one another, which can only be a good
thing. Emerging artists should of course learn from
those that have achieved Main Stage status, whilst
importantly pushing things forward. Artists such as
Chainsmokers and Billie Eilish performances tread
the boards of a multitude of sounds and styles whilst
delivering electric stage shows, which for us is the sweet
spot of the headliner. It’s more than just the music. “
Brands to the rescue?
While artists’ hone new channels of communication,
and technology catches up, Gentilli warns that there are
still substantial obstacles. “Whilst music production is
booming - what happens when that 100 cap venue you
played at as an early stage producer closes down? These
are the hotbeds where talent hone their craft, and where
they get noticed. In current conditions, we worry that
the live music industry will suffer as smaller venues are
the life blood of a healthy live music industry.
But, according to Andrew, there are venues popping
up around the UK that cater for emerging acts. “Yes, a
lot of venues are dying out, but many developers have a
criteria to build new venues,” he adds. “Some venues are
less effective, as they haven’t updated their PA system,
and there’s a lot of venues that double-up as clubs, and
you need a live PA and a club PA. Venues need to be
multiple use. Older venues, meanwhile, can be very
unique and built out of purpose and demand. Some
hugely iconic venues might have support beams, or
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impractical elements.”
Brands can play a key role in helping venues, Gentilli
adds. “We feel brands can have a positive impact on
the live music industry – tying into purpose – there’s
a real opportunity for brands to bring resource, drive
and credibility to support venues in staying open. We
see many more venues who are open to working with
brands and when these partnerships are sensitively
implemented it can be of real cultural value. Alongside
this, we are discussing with some brands that there is
an important role for them to support the venues at a
legislative level - because imagine the impact on Diageo
if, for example, we lost 30% of our venues in the next 10
years?
“A lesser known threat, but one we are aware of - is that
producers, especially in the club world, don’t get paid for
tracks played out by DJs who are being paid handsome
sums for performances – so what happens when
bedroom producers have to get day jobs as they can’t live
off streaming anymore? This is an exciting space for the
right brands to play and make an impact, and there the
PRS are starting to effect some change here but there is
scope for much more to be done.
“A final space which we are excited by are the
opportunities afforded virtual performances – cheaper,
engaging and with huge opportunity for scale we think
this is a space that will provide a great opportunity for
young talent to engage and reach their fans. It will also
provide talent with a chance to engage with global fans
at a virtual event, rather than localised communities.
See Fortnite’s stunning work with Marshmallow as an
example of this early stage trend at play.”
Festival endorsements
The festival market, meanwhile, is showing signs of
embracing new acts and playing to emerging audience
demand. Andrew says: “There are new festivals
emerging that cater for new sounds, like one in South
London called Ends, an urban music event in Croydon
which has had a successful world culture festival for ten
years. The acts may not be in the top 20, but they get
slots at these festivals.”
With streaming coming of age, technology enabling
greater participation and brands becoming savvy to the
rewards of working creatively with emerging acts, the
stage could be set for a new spate of lasting headliners.