Here is a big idea; imagine what it will feel like listening to music and gaming from the comfort of your home. Do you want to know the best part of this? You will have your privacy even though in a public show, you are at liberty to eat and drink, choose the perfect spot for your viewing, bypass the broad audience, adjust the volume to suit yourself, and avoid the excruciating long queues to the bar. Sounds impressive, right? The only downside is, well, you are not physically present at the concert. You may also try your luck winning on UK Casinos.
A groundbreaking moment in the music industry was the in-game virtual concert held by Fortnite on February 2nd, 2019, with the renowned EDM DJ, Marshmello. It was a music concert held for just 10 minutes but with over 10 million attendees. The considerable show indicates that virtual concerts have excellent potential, which is indispensable for all music companies. If you can’t afford to be physically present at a concert, you can just decide to attend online and renew your music experience.
Party Hard, Play Hard
Music and gaming have, for several decades, served as a big stage for entertainment. The two steps have, however, been collapsed in recent times into setting a more significant scene for the young generation lovers of virtual entertainment to be served both even together at the same time. This shift in paradigm is needed by music companies more than ever. It is because the music industry has faced quite a lot of challenges, such as bitsy connection with VR over the years. Could you also remember the capriciousness of some social media apps such as Turntable .fm or Twitter music? The good news is, the level of expertise exhibited by digital gaming industries such as Fortnite in recent times has served as a soft landing in rewriting this narrative.
An earlier precedent was a virtual concert pulled off in “Second Life” premiered in 2003 with careful steps towards building. It had the proper use of musical instruments and costumes, an avatar character of oneself, getting a server space for the stage tagged as “owning land” in the game with ranging incredible features. A piece of recorded music by the artist in the real world pipped in the form of karaoke by the avatar. Artists, in this instance, get performance fees from “landowners” or through payments by app users or fans.
A Future Prospect?
Of course, popular record labels such as Warmer music, Sony Music and Universal Music, among others, were all-embracing in developing in-game and fan clubs with the help of experts such as Jordan Bigel. Players in the present dispensation can afford to buy In-game by Marshmello branded skin at $15 each. Fortnite concert by Marshmello features the three building blocks outlined by Katherine Isbister in the book titled “How Games Move Us: Emotion By Design.” Thus, a rise in gaming culture through proactive measures by famous artists in their creative outputs have become incredible in recent times.
Similarly, tuning to this virtual reality avails you the opportunity for social interaction, shared music moment, and mobilization among users regardless of the distance barrier. Astonishing, isn’t it? The multimedia and multiplayer platform allows you to get the chance to party and play games with your friends from anywhere around the world. According to Wikipedia, users of virtual reality equipment could view the artificial world, interact with its features, and move around in it.
It may also interest you to know that there are financial incentives available in the industry for music companies to rake in on video games. A report by the digital gaming market indicated that there are millions of active game users and subscribers on popular music-streaming platforms with a revenue generation of $125.3 billion in the year 2018, a value above what was projected for 2030.
But beware, creating this vivacious social music moment is not a joke as many may think. Standalone products seldom survive the harsh world of licensing practice and the capricious taste of most customers. Attempts by sites such as YouTube, SoundCloud, and Turntable.fm proved less impressive and, in turn, led to a winding up of sites like Turntable .fm in 2012. Sites who also invested VR-concert apps have, in recent times, laid off their staff due to its dwindling nature.
To sum up, the key to achieving success is for music and gaming companies to look inward on its structure and build a coordinated strategy to launch its service improved delivery and maximum profit-making. And isn’t that what you want? Kindly leave us a comment.
Thomas Glare is an American citizen and a Music graduate of Madonna University. He is a diehard video game player, a staunch lover of digital marketing, and a music enthusiast. He has several articles and blog posts on related subject matter to his credit. He relaxes by playing in-door games, doing Yoga, and attending in-game concerts.