Livestreams 今年可望推動68 億美元的社交應用支出

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  • 作者: 音樂地圖
  • Livestreams 今年可望推動68 億美元的社交應用支出

      202110/0802:30

    ◎ Covid-19 大流行期間,直播音樂活動的數量以及觀看它們的粉絲數量激增。這對收入意味著什麼?應用分析公司 App Annie 發布了一些預測,雖然不是專門針對音樂,但與行業非常相關。
    ◎頭條統計數據之一,是今年消費者將在熱門社交應用上花費 5480 億小時的直播時間,估計消費者今年將透過社交應用程式花費 67.8 億美元,到 2025 年每年將增加到 172 億美元,令人印象深刻的 5 年年增率為 29%,使透過社交應用程式花費的總支出達到 780 億美元。內容創作者是這一增長的關鍵,因為觀眾購買應用程式內禮物來支持他們最喜歡的主播。
    ◎這是對社交應用內小費經濟規模的衡量,而不是例如直播演唱會的門票銷售。儘管如此,隨著越來越多的藝人研究 YouTube 上的超級留言和超級貼紙等功能; Instagram 上的粉絲徽章;臉書上的星星;Twitch 上的點點滴滴等等,這是一個令人鼓舞的預測。
    ◎然而,這也凸顯了利用這些機會的戰略困境之一。藝人應該選擇一個平台來專注於他們的直播(和小費經濟收入),還是嘗試將自己分散在多個平台上? Water & Music 的 (Cherie Hu) 最近在更廣泛的粉絲訂閱背景下思考了這個問題,粉絲訂閱是大型社交/UGC 應用程式創作者經濟中的功能,但也是 Patreon 和 OnlyFans 等獨立平台的功能。“隨著每個科技平台都推出直接創作者訂閱,是否有任何藝人/創作者同時在多個科技平台上維持成功的訂閱業務?她的理論是,做好這件事幾乎是不可能的。”
    ◎這對音樂人來說是一個挑戰,他們在所有這些平台上都在與一系列創作者(遊戲玩家、視頻播主、體育網紅等)爭奪觀眾的時間(以及他們的金錢),弄清楚如何及從何處開始集中他們的精力。App Annie 的數據鼓勵人們追趕,但藝人和他們的團隊不會低估所需的辛勤工作。

    詳細全文:

    We know there has been a boom in the number of livestreamed music events during the Covid-19 pandemic, and also in the number of fans watching them. What might this mean in terms of revenues? App analytics company App Annie has published some predictions which, although not specifically music, are very relevant for our industry.
    “Consumers will spend 548 billion hours live streaming in top social apps this year,” is one of the headline stats. “We estimate consumers will spend $6.78 billion via social apps this year – rising to $17.2 billion annually by 2025, an impressive 5-Year CAGR of 29% — bringing the lifetime total spent through social apps to $78 billion. And content creators are at the crux of this growth, as viewers purchase in-app gifts to support their favourite streamers.”
    So, this is a measurement (or rather, a guess) about the size of the tips economy within social apps, rather than, say, of ticket sales for livestreamed music concerts. Still, as more artists investigate features like Super Chats and Super Stickers on YouTube; fan badges on Instagram; stars on Facebook; bits and cheers on Twitch and so on, it’s an encouraging forecast.
    It also highlights one of the strategic dilemmas in taking these opportunities, however. Should an artist choose one platform to focus their livestreaming (and tips economy income) on, or try to spread themselves across several? Water & Music’s Cherie Hu recently pondered this question in the wider context of fan subscriptions, which are features in the creator economies of the big social/UGC apps, but also standalone platforms like Patreon and OnlyFans.
    “With every tech platform under the sun launching direct creator subscriptions, I wonder if there are any artists/creators out there who sustain successful subscription businesses on *multiple* tech platforms simultaneously,” she wondered. “My theory is that doing this well is almost impossible.”
    That’s the challenge for musicians, who on all these platforms are competing for viewers’ time (and now their money) against a range of creators – gamers, vloggers, gymfluencers etc – who’ve had a head start in figuring out how and where to focus their efforts. App Annie’s figures are encouragement to catch up, but artists and their teams won’t be underestimating the hard work required.

     

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