New interest in livestreamed gigs looks likely to outlive COVID-19 shutdown, says UTA
As many as 90% of regular concert-goers have sought to replace the live music experience online during the COVID-19 lockdown, and around 70% of those who have been newly accessing live-streamed shows say they plan to continue doing so even once the pandemic is over.

That's according to a survey conducted in the US by the data and analytics unit at talent agency group UTA, which reckons that a positive of the COVID-19 crisis maybe new long-term opportunities in the streamed concert domain.

UTA teamed up with consumer research platform SightX to survey approximately 1110 American consumers about the kinds of entertainment they have been accessing since the COVID-19 lockdown began. The aim, the agency says, was "to inform our agents, clients, partners and the entertainment industry at large".

"But we also sought to put numbers and facts behind what we believe inherently: that entertainment content emerges as a critical beacon in dark times", UTA also says in a new report based on its survey. "It is indeed an 'essential service' when factoring the mental and emotional toll that social isolation has taken on nearly every American".

Key stats related to music include that 90% of the concert-goers among the survey's respondents had sought to replace the live music experience through online channels in recent weeks, including streaming services, social media, video platforms and livestreams.

Some have simply sought out their favourite artists' catalogues on the streaming platforms, or watched archive concert footage on video and user-upload sites, or more proactively followed an artist's activity on social media. But 46% of the surveyed music fans had also tuned in to a livestream of a music performance while on lockdown, and 28% said they had paid in some way to access such livestreams.

Obviously, it's no secret that the livestreaming of musical performances has boomed since lockdown began - both in terms of the number of artists staging such streams and the number of fans tuning in. And while many livestreamed shows have been free to access, some artists have started to successfully monetise this activity.

Livestreaming isn't new of course, but, prior to COVID-19, live music online had never really gone mainstream. Now that it has, to an extent, the big debate is whether that's a temporary blip facilitated by these unusual times and the novelty value of watching artists performing from their living rooms, or whether something more permanent has begun.

UTA's research suggests the latter, with approximately 70% of those who had tuned into a livestreamed concert during lockdown saying that they planned to do so again in the future even once lockdown is over.

Capitalising on that opportunity quickly could be important for the music industry, given that another finding in the UTA survey was that less than half of respondents said they planned to immediately rush back to the real world live music experience once lockdown restrictions are relaxed. That's a finding that echoes concerns expressed by consumers in a recent Reuters poll that there could be resurgences of COVID-19 in the year ahead, and therefore it's unwise to attend large-scale events until a vaccine has been developed.

UTA writes in its report: "Prior to COVID-19, the appetite for virtual concerts was limited. Now, optimising the virtual experience may be critical to the future of live music. Music tech companies have quickly begun to legitimise the livestream business through ticketing and offering community-based features that hope to replicate the shared experience of attending a live event".

"The newfound appreciation for livestream and virtual music events reaches beyond just the frequent concert-goer", it goes on. "Even before the star-studded [Lady Gaga-organised] 'Together At Home' livestream concert raked in more than 20 million viewers, six in ten consumers stated that they had participated or planned to participate in virtual or livestreamed music events during this period of social distancing".

The report then notes a comment made by The Orchard founder and Warner Music Chief Innovation Officer Scott Cohen during a recent panel discussion organised by the Social Broadcasting Company: that COVID-19 could be the live sector's "Napster moment".

"Indeed, COVID-19 may be the live music business's 'Napster moment'", UTA adds, "as the industry reconciles increased mainstream interest in virtual shows even as concert-goers crave a return to the 'real live' experience".

You can download the full UTA report - which also covers other strands of the entertainment industry - here.

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Eventbrite successfully defeats investor lawsuit
Given that, like all ticketing firms, Eventbrite is having to deal with the fall-out of the COVID-19 shutdown, bosses there will presumably be particularly pleased that they've managed to kick out of court a lingering lawsuit relating to the company's IPO back in 2018.

Investors in Eventbrite went legal last year over allegations that the company had made false or misleading statements ahead of its IPO, in particular in relation to its earlier acquisition of rival Ticketfly and the integration of the two company's platforms.

The litigation came after Eventbrite's share price took a bashing in March and May 2019 in the wake of official updates on revenues and revenue projections - which were lower than expected - and the ongoing challenges around the integration of the Ticketfly and Eventbrite platforms.

That admission that the integration of Ticketfly was proving problematic contradicted what Eventbrite had said in the run up to the 2018 IPO, plaintiffs in the case argued. Which meant the company had deliberately misled potential investors about the business.

However, Eventbrite hit back last December, denying those claims and telling the courts that the investor lawsuit was baseless. "Plaintiffs claim that Eventbrite ... misled investors about its September 2017 acquisition of Ticketfly", the firm's lawyers stated in a motion for dismissal, "but the complaint does not allege facts suggesting that Eventbrite made any false or misleading statements of material fact".

Moreover, the lawyers argued, Eventbrite had been very upfront about the risks associated with the Ticketfly integration in documents put out before the IPO. Those documents "noted that this integration and migration process typically takes between twelve and 24 months and warned investors about many risks inherent in the integration and migration process".

This week the judge overseeing the case concurred with Eventbrite's arguments. "Plaintiffs' vague allegations that the Ticketfly acquisition was 'delayed', 'costly', and that the integration missed 'key features' are insufficient to show that defendants 'affirmatively' created an impression of a state of affairs that differs in a material way from reality", the judge wrote.

"In fact", he added, "a closer inspection of Eventbrite's SEC filings appears to belie plaintiffs' claims that the company projected that the Ticketfly integration was going 'smoothly'".

With all that in mind the investor lawsuit has been dismissed. Though plaintiffs can submit an amended complaint if they so wish, with a 24 Jun deadline for doing so.

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NME print magazine is back from the dead (in Australia)
Just when you thought you'd got used to the NME being dead (in print form, of course, only in print form), it's back. In Australia, anyway. Although, apparently, the print NME mag is only on "hiatus" here in the UK too. I can barely cope with this rollercoaster.

It's just over two years since the main UK print version of the NME was ditched (or placed on hiatus) in favour of a "digital-first strategy".

Then, in December last year, the title launched an Australian version of its website, in order to better cater to all those Aussies who were accessing the main UK-based edition of the site. Now, in order to even better serve those people, there's going to be a new monthly print magazine sold in Australia.

"Since the launch of our NME Australia site in December 2019, we've seen huge interest from fans, artists and the music industry, with half a million monthly Australian readers visiting NME.com/Australia for their music and pop culture fix", says CEO of NME parent company BandLab Technologies, Meng Ru Kuok.

"While the print edition in the UK is still on hiatus, we decided there was nowhere better to re-introduce print than Australia", he goes on. "It's a big country with one of the most dynamic music scenes in the world right now, and, of course, there's no better time than now, when people are seeking compelling content, engaging news and home-based entertainment".

You could argue that the lockdown-induced need for home-based entertainment is a reason for focusing on online - indeed several print magazines have paused publication as a result of COVID-19. But I suppose if you want to ramp up your activity and you already have a website, then getting back to print is the only way.

Providing you can get that print out to people while the shops are shut. But they've thought of that. You sign up online and get it delivered in the mail.

The first issue will be popped in the post in mid-May, at a cost of AUS$9.72. You can take out a six month or year-long subscription too.

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AIM House heading online for 2020 - complete with strand from CMU
The Association Of Independent Music has announced that it will be presenting its annual AIM House conference programme virtually this year on Friday 15 May - and CMU Insights will curate a strand within that programme.

The physical AIM House is usually set up at The Great Escape in Brighton each May, providing a hub for the independent music community at the annual showcase festival and music conference. But with the physical festival and conference world currently on hold as a result of the COVID-19 pandemic, AIM has decided to build its house online this year and open it up the music people from all over the globe.

During The Great Escape, of course, the AIM House programme sits alongside the CMU+TGE conferences that form the core of the wider TGE delegate programme. With that in mind, CMU has teamed up with AIM House and will host one of the 'rooms' within the virtual conference, offering a taste of what normally happens on the CMU+TGE stage.

CMU's Chris Cooke will present a series of speedy briefings based on CMU Insights' research work and training sessions, while experts from across the industry will offer their insights on topics like music education, music media, podcasts, global markets, streaming around the world and freedom of expression.

In the wider AIM House programme speakers from the likes of Brownswood Recordings, Full Time Hobby, GigRev, Julie's Bicycle, Key Production, Ninja Tune, The Floor and Viva La Visa will be on hand to share their viewpoints and expertise, covering topics like fan engagement, visas post-Brexit and post-COVID, livestreaming, vinyl production and running environmentally sustainable music businesses.

The virtual conference has been made possible by support from Merlin and the UK government's Department For International Trade - with PPL, the British Council and the Worldwide Independent Network also on board as supporters of the event.

Tickets for the conference are free. More information about AIM House 2020 and how to book a place is online here. And you'll find more information about CMU's sessions here.

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Noel Gallagher releases 'lost' Oasis demo
Who else has used lockdown to do some de-cluttering? Only to now have a massive pile of clutter in the middle of your living room because there's no way to get it out of the house? Noel Gallagher, that's who! But in amongst the stuff he's been sorting through he's found a long lost Oasis demo. So that's better than the old trainers I've got (yours if you want them).

"Like the rest of the world, I've had infinite time to kill lately", Gallagher wrote on Twitter. "So I thought I'd finally look and find out what was actually on the hundreds of faceless unmarked CDs I've got lying around in boxes at home. As fate would have it, I have stumbled across an old demo which I thought had been lost forever".

He went on to say that the only other recording of the song on that demo disc, called 'Don't Stop', was recorded during a soundcheck in Hong Kong - a bootleg of which, under a different name, has become a favourite among some fans.

"I know some of you love this tune, so we thought we'd put it 'out there' for you to enjoy/argue over", he added. Who's the "we" he refers to there? Well, not him and his brother. Liam tweeted this morning: "Well there's something missing in this god almighty stew and it's your brother, your brother, don't forget your brother".

Listen to 'Don't Stop' here.

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Little Simz announces lockdown EP
Little Simz has announced that she will release a new EP next month. Titled 'Drop 6', it will feature five new tracks all recorded in lockdown.

"I don't mind being alone", she says. "I quite enjoy my own company, actually. However, choosing to be alone is different from being forced to be alone and that's where the difficulty comes in. You're stuck with yourself, 24 hours of the day, seven days of the week. There are only so many naps I can take in a day. So this is what happens when the world stops".

"I started working on an EP early April, with a plan to finish it by the end of the month", she goes on. "Around mid-April I got disheartened and started getting in my own way. That self-doubt shit again ... After serious procrastination I decided to stop being a lil bitch and cry baby and knuckle down on the EP".

So then, "I gassed myself up - there's no one else here, I'm alone, I had to. It started to feel good. I started to get really excited, wheeling myself up, spudding myself. I had to. Then I completed it. And when? End of the month just as I'd set out to. Things come full circle in the end don't they? ... This is a turbulent time but we don't fold. We don't come from that. We will always be fine".

'Drop 6' is set for release on 6 May.

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APPOINTMENTS

Sony/ATV has hired Mike Jackson as VP Creative and head of the company's new Atlanta office. He joins from BeatRoot Music, where he was Senior Executive Business Development Consultant. "I'm looking forward to adding value and keeping up with the already winning momentum here", he says.

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DIGITAL & D2F SERVICES

Spotify put out its latest investor update yesterday. Has the COVID-19 shutdown - which began in the quarter this update relates to - changed everything? Not really. Ad income on the free service has, unsurprisingly, been affected and there has been some COVID-19-caused changes in listening patterns. But the real Spotify business is in selling subscriptions, and the number of paying users continues to rise, now up to 130 million.

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RELEASES

Haim have released new single 'I Know Alone', which they say "feels eerily appropriate given what's going on in the world right now". They've also announced that new album, 'Women In Music Part III', will now be out on 26 Jun.

Ghetts has released new track 'Microsoft Word'.

Kaytranada has released the video for 'Need It', from his 'Bubba' album, which came out at the end of last year.

Icona Pop have released a new collaboration with producer Hayden James, titled 'Right Time'.

Porcelain Raft has released new song 'Out Of Time'. The track is taken from his new album, 'Come Rain', which is out on 15 May.

Check out our weekly Spotify playlist of new music featured in the CMU Daily - updated every Friday.

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Britney Spears returns to home gym after accidentally burning it down
It's not that long since Britney Spears used her Instagram account to share the "kind of loud" sound of her foot breaking while dancing. Now she's shared a video of herself working out in her newly refurbished gym. Refurbished why? Because she set it on fire.

"It was an accident", she says. "But yes, I burnt it down. I walked past the door to the gym and flames. BOOM!"

It kind of sounds like a Michael Bay movie. Did she have exploding candles? Maybe we will never know. Anyway, she continues: "By the grace of God the alarm went off after that and yippy hoorah nobody got hurt".

"Unfortunately now I have only two pieces of equipment left and a one-sided mirror gym", she adds. "But it could be much worse, so I'm grateful. I like working out better outside anyways".

Exercising outside seems like a good idea. Or maybe not exercising at all. Who knows what could happen next time?

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