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The Return of Live Concerts Post Pandemic: An Urge to Enjoy Concerts & Festivals While Remaining Safe

The entertainment industry is an everlasting realm of society that will continue influencing the masses. More specifically, concerts and musical festivals surpass the idea of merely a social event. The environment surrounding such venues encourages musical engagement and places artists on a pedestal for ordinary folk to praise. Previous studies have even explored the social engagement experience among people moving together to music. However, since the COVID-19 pandemic has emotionally and physically affected millions worldwide, everyday pleasures and normality have taken a toll. Our world has effectively shifted in more way then one. Considering the massive hold the musical entertainment industry has on the world, there is a significant problem worth considering regarding how to progress as concert venues shift standards away from the pandemic. To preface, the global music industry is worth over $50 billion, with two major income streams. The first, live music, makes up over 50% of total revenues and is derived mainly from sales of tickets to live performances.

Considering live performances are half the music industry's total revenue, quarantine left consumers beyond disappointed and business-oriented individuals on edge. The consistent unpredictability of the virus and newfound irrational fears of any illnesses has made it challenging to plan adequately and consistently for live music events. Fans have been constantly disappointed by artists optimistically scheduling tour dates and then having to later cancel and refund ticket sales amid another wave. While the overall feelings that emerge from music pull on many people's heartstrings, the pandemic's effect on the music industry is not necessarily urgent, looking at the grand scheme of things. The heroes in the medical profession and finding a vaccine were the main priority during the pandemic. Keeping individuals healthy and safe- while attempting to avoid political controversy- will continue to be the most urgent issue worldwide during the post-pandemic era. 

Since individuals can listen to music in the comfort of their own space, the return of live music may not necessarily be a priority. However, capturing an audience's attention and resources is not necessarily difficult, considering live music is a privilege many attempt to obtain. Viable solutions are absent to the problem. The most significant success of companies and artists returning to live music was waiting because the world was at a standstill. The white space in the market that has not been solved concerns how to enjoy the experience of a live concert while staying safe and saving money.


Artists and capitalistic labels had a high chance of losing supporters, money, and overall business. However, consumers still needed to gain the joy of live entertainment. Fixing the problem is not unavoidable because a mandate with governance or regulatory control implications does not drive the problem. Entertainment is a leisurely activity. Therefore, the world will stay intact in the absence of live music.


It is essential to keep the entertainment industry lively to fuel the aspects of society that feed off capitalism and pleasure. Considering that concealed problems are unacknowledged and therefore require costly missionary selling, the issue of entertainment venues shutting down because of the COVID-19 pandemic is undoubtedly conspicuous. The world shutting down was ever so visible, considering most people were stuck in quarantine. Individuals craved excitement and freedom. Therefore, the overall problem of addressing the absence of live music during the pandemic needs a solution to bring back a sense of normalcy worldwide.

It is crucial to define the target customer of music in general. Targeting customers for concert venues and festivals typically includes six main elements: geographic location, gender, race/ethnicity, age, marital/parental status, and socioeconomic status (GGRAMS)." More specifically, venues and artists must consider whether the target audience is urban, suburban, or rural when discussing location. Next, knowing, for example, the majority of your onlookers will be women is not enough. So, gender is also a significant factor in considering how to appeal to the pathos of the given audience. Next, artists must keep at the forefront of their minds that their music can act as a celebration of specific cultures, races, or ethnicities. Next, a cover band should consider playing music that has been popular over several decades to please a majority of the crowd spanning many ages. Next, it is crucial to question if spectators will mostly be married couples, singles accompanying other single friends, or a blend. Finally, socioeconomic status (SES) tells individuals what they can afford, whether or not social status is a factor for attendance, and if the proposed ticket pricing strategy will work.


During the COVID-19 pandemic, many missed the tangible benefits of attending real-life shows, like seeing your favorite artists in the flesh. Unfortunately, it is all of those factors that make concerts dangerous virus hotspots. While many people want to be in this lively environment as soon as possible, some people are less inclined to return to those environments, even with a vaccine. Therefore, the wants and needs of certain people are to enjoy a live concert while remaining safe.


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