Why local is the answer to a future of new normals

This is a rough transcript of my talk at Most Wanted: Music Dial-in on July 20.

Just before the pandemic hit, I started a new project called Hard Dance Berlin.

My intention was to map out the local scenes of harder electronic music and try to bring them together more after I noticed that people like each other’s music, but rarely come together.

I wanted to shine a light on all the local events happening that cater to people who love those sounds and in many weeks found events on 4 of the nights. One week in February even had relevant events all 7 nights. Berlin 💁

But then it stopped. Abruptly. First the cancellations came from concerned organisers and then the lockdown happened and forced organisers who hadn’t caught up yet to also cancel their events.

My vision had been this:

Focusing on local allows people from various scenes to collaborate and create new scenes. By bringing audiences together, we’d be able to support each other. No more having to easyJet around Europe every weekend just to pay the bills as a DJ.

But in the middle of March there was no local to focus on. Everyone’s ‘local’ was reduced to staying at home. While everyone’s at home, focusing on local seems pointless, because what would once emerge as a local subculture from a record shop and venue in a particular city, now emerges through networks of artists on SoundCloud and Instagram.

Organisers and artists scrambled to get livestreams up and running, while the amount of daily new information added an edge of overload to a time of uncertainty.

Something happened since the initial lockdowns:

We went from something that was very hard to grasp and felt completely overwhelming to a certain calm. We know most countries have similar style lockdowns in place. While uncertainty and hardship is part of the daily reality for many of us, things have also become a lot more predictable than back in March and April.

Unfortunately, that is temporary.

We’re now seeing governments inside the EU giving negative travel advice to their citizens traveling to certain countries or regions in Europe.

The most publicised of these are the UK and Germany’s recent travel advice for Spain. Also in the past days, the Dutch government advised their citizens to avoid the Antwerp area after an outbreak, after which the Belgian government gave out a similar warning for The Netherlands.

So while we’re now carefully trying to get live music back on its feet, with proper safety measures in place, we’re seeing a landscape evolve that is as complicated as it was in early March when some cities and regions locked down, but countries were still open… but would they be by the time you had to be there?

Risk management

In order to maintain or increase certainty and predictability, we are seeing organisers of drive-in shows, the rare socially distanced event, and even many livestreams depend on local cultures: venues, crews, artists.

Now let’s imagine a few months forward: we’ll likely see a complicated landscape of lockdowns as countries, states, and cities deal with outbreaks. When all’s clear, events with proper hygiene may be permitted, but when an outbreak occurs the area might go into a form of lockdown at almost no notice.

So let’s imagine next summer. Let’s say that we have a vaccine by then – which is optimistic, but not unrealistic. Will that vaccine give long-term immunity or be more like a flu shot? Can we get it out to large enough parts of our populations – how quickly? And what about all the other places in the world? And then what does the world look like? We’ll know that this can happen again – as it nearly did with bird flu, swine flu, SARS, MERS, you name it.

And what about other crises? Every year we see record temperatures and more extreme weather events. Governments are discussing “green new deals” to reorganise their economies in order to address the crises of climate, waste, and biodiversity.

The new normal is not a static thing: it’s a future of new normals.

So that current local focus we’re seeing: it’s here to stay. It’s risk mitigation. That’s not to say your favourite bands won’t be coming to town anymore: they probably will. But since focusing on local scenes is one of the most effective strategies for mitigating risk in the face of these crises, we’ll see a renaissance of local scenes in an interconnected world – where scenes from Berlin, New Orleans, Shanghai, etc. can be made visible to each other.

By what we’re learning now about building online business models, we can make sure music won’t depend as much on cheap air travel as it used to — because eventually there probably won’t be air travel as cheap as it is now.

So I’d like to encourage everyone to think long-term and build global networks for local impact. Our future kind of depends on it.

Image above by Donny Jiang on Unsplash

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Club Cooee

Better Than Real Life: 8 Generatives

Virtual concerts are not here to replace live music. They’re here to provide a new type of entertainment. Personally, I find the average virtual concert dull and inconvenient. It’s dull because it’s usually not more stimulating than a conversation with a friend, playing a video game, reading a book, watching a show on Netflix, or in some cases even scrolling through my Instagram. It’s inconvenient, because I’m supposed to tune in at a specific moment, whereas all other in-home entertainment in my life is basically on-demand.

So, what is better than all those things? What can make people decide to stay at home, rather than catch some fresh summer air before we head into inevitable winter lockdowns?

Virtual music events have to offer things that other types of entertainment can’t. A virtual event has to leverage the context of music, rather than just transmit a performance to an audience. If it is to be sustainable for musicians beyond the pandemic, because they prefer not to travel as much or want to stay more closely connected with fans on a regular basis, it will also have to be in some ways better than the real life equivalent.

A vast number of livestreams are basically just a poor version of an actual live event. The only edge it has is that you can be lazy and stay on your couch (and it’s easier to social distance with a front door between you and the world). So where does a virtual event have an edge? What can you do online that you can’t do in real life?

This post is inspired by Kevin Kelly’s Better Than Free published in 2008. He describes generatives as follows: “a generative value is a quality or attribute that must be generated, grown, cultivated, nurtured. […] In the digital arena, generative qualities add value to free copies, and therefore are something that can be sold.”

Putting it into the context of the post, generatives are qualities or attributes that make people choose virtual events over “real life”.

8 generatives better than real life

Magical powers

Let’s start big: we would all love to have magical powers. Whether it’s flying around a (virtual) venue or invisibly teleporting on to the stage to see what the artists are doing. Through virtual live events you can let people do things they literally can’t do in real life – not because it’s illegal, but because of the constraints of our oft-lamented physical reality.

Figure out what makes sense for you as an artist, band, or organiser and then give your audience superpowers. That could be multi-camera setups that let fans jump around the room and zoom in on what you’re doing, virtual environments in which people can move by flying around, or a telekenetic airhorn that you’ve set up to respond to people’s tips on Twitch.

Interactivity

Recognize people’s contexts and attention span. Asking people to sit on their couch and quietly watch a music performance does not fit most types of music well. Most concerts are interactive: people dance, sing, jump, clap, cheer, drink, take photos, meet people, and perhaps jump into a mosh pit.

The home context is different: there’s mobile phone notifications that compete for attention, there’s messaging apps, there’s that untidy corner of the room you will definitely get around to cleaning up some time this week…

Keep this in mind. You can give people an escape from interactions by making events interactive – even if that just means responding to what’s happening in the chat.

Context synergy

Imagine loving a virtual environment like a video game so much that you spend the majority of your free time in it or even just a few hours a week. Now imagine an artist you’re a fan of coming to this digital space that’s like a virtual home to you. Are you going to go outside and do something else? Hell no.

One could argue that the context of Minecraft or Fortnite is part of ‘real life’ anno 2020. In that case: are you going to play on your usual server and miss that concert? Hell no.

Artist proximity

Fans can feel much closer to an artist from the safety of their home and a keyboard than they might in real life. Some people go up to artists to thank them, some don’t because they don’t want to bother them, and some are just absolutely terrified of the interaction. If there is any interaction, it’s usually a quick thank you and signature after a concert and that’s it.

Online, you can leave room for fans to really interact: you can talk about topics, show them what you’re working on, answer questions, and acknowledge the individual by mentioning their name or nickname on the stream.

Fan community or scene networking

Music brings people together. Before the web, listening to music by an artist you were into was the only way for some people to know that there were other people who feel or think just like them (especially young people). Now you can just Google those feelings and thoughts and go down an internet rabbit hole of communities, so while music has lost that monopoly it’s still a powerful force as a connector.

Although people are still connected to various degrees of their social lives (flatmates, family, close friends, colleagues) they are likely disconnected from further degrees such as acquaintances, people they’d run into at concerts, and other people they’d only meet when at events and social gatherings. Furthermore, while performers would see the scene they’re part of in many cities, many fans wouldn’t be exposed to their own scene in other places.

If this is an important aspect to your music, bringing these scenes and communities together online can create social meaning that’s better than a Zoom call with mom (sorry, moms).

We’ve all seen recently what connected fan communities can do.

Global proximity

Similarly, it’s great to feel closer to the rest of the world while being unable to travel. Many dance music streams will have Zoom sessions running which fans can join in order to broadcast themselves. You’ll see ravers sitting in their living rooms or at their desks, waving flags, drinking, or eating chicken (as seen on-stream during Dominator‘s virtual event). Occasionally, some of these webcams will be shown alongside the performers in the main stream, showing a global fan community from Canada to Brazil to Thailand to Italy (in the case of Dominator, that chicken-eating guy’s backdrop was a Mad Max-like stage with cars and motorbikes making jumps behind the DJ – unfortunately the “in-stream” is not visible on the recordings uploaded to YouTube).

If people have friends far away, they can experience that proximity together by tuning into the same stream. While there are ways to do watch Netflix together in a synced session, it’s not as special as coming together in an event that thousands of others are also using to come together.

An example of DJs "instreaming" a fan during Q-Dance's Qonnect event in April.
An example of DJs “instreaming” a fan during Q-Dance’s Qonnect event in April.

A role to play for the viewer

This was already captured above, but I think the principle is so important that it’s worth making it explicit. Instead of broadcasting a stream and implying fans should just sit down and shut up, you can involve them.

Think instreaming by showing fans’ cams to the wider fan community, by improvising based on fan input, or by letting them interact with each other through magical powers. To put it in Ishkur’s words:

A party exists for its own sake and for the sake of its participants. Your job is to contribute; to interact and celebrate.

When you go see Tiesto, you are not contributing anything. You are being a spectator. You might as well be dead.

The premise may be awkward as a performer, but make the event about more than yourself. Let the people who attend participate. Make them part of ‘you’.

Personal example from back in March: with Hard Dance Berlin I created a line-up of performers and then used Plug.dj to let the crowd have a chance to go back to back with the DJs, so DJs would play half of their set time and the crowd was responsible for the other half of the tracks played during that time. The event was called DJs vs Berlin. Afterwards, we opened up the decks to the audience queue.

Another example is audience avatar customization as can be done in Fortnite, Minecraft, IMVU, Club Cooee (pictured at the top) and other virtual event spaces.

FOMO: Fear Of Missing Out

I never listened to Slayer much, but when they announced their last tour I got tickets to their show and started listening to their discography a lot. And the show itself? It was awesome. However, similar decisions motivated by FOMO-related impulses haven’t always panned out as well. Sometimes something was a waste of money or a night better spent asleep. Oh well.

My point: FOMO is powerful. It can make people prioritize things that normally wouldn’t be high on their list. Whether it’s a one-time only virtual event like the screening of Nick Cave’s Idiot Prayer, the release of limited edition merch during a stream, rotating line-ups like the Verzuz battles, or just having unique sets in your events as a result of improvisation and interaction: all of these create FOMO and make people want to tune in instead of going out.

Bonus: if your event doesn’t go as well as you hoped, but is not terrible either, cognitive dissonance will make sure that people’s anticipation translates into satisfaction. (But remember: trust and attention are fickle: do what you can to avoid disappointing people)

A nod to Kevin Kelly’s Better Than Free post, which inspired my own. The post has seen hundreds of comments since publication: if you think I missed something, please leave a comment below.

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