Chao News client trainee reporter Wu Fumei
Xu Meijing's concert "paddling" turmoil has not stopped, and the Kunshan "platter concert" controversy has arisen again.
On April 30, after the end of the Kunshan station of the "Time Classic Concert", many netizens posted on social platforms that they were "defrauded" by the organizer and sparked heated discussions. The audience reported that there were Li Jian, Zhang Shaohan, and Wang Xinling, but a bunch of unknown people sang for a long time, and the sound was so bad. Wang Teng (pseudonym) told the Chao News reporter that the audience around him was as angry as he was, and felt that he had been "defrauded" by the organizers, and the audience was shouting for a refund.
In the past two years, the concert has continued to be popular, but there has been frequent chaos under the boom. From the Mayday lip-syncing controversy, to Xu Meijing's "paddling" being refunded by the audience, and then to today's "platter concert", related controversies continue. What is the crux behind this? How can the booming concert economy "continue to sing"?
The concert controversy continued
On April 30, the "Time Classic Concert" Kunshan Station opened at the Kunshan Sports Center Stadium. It is reported that the concert was revealed in the early stage of publicity that the concert will be sung by Li Jian, Zhang Shaohan, and Wang Xinling, and the three of them will perform for more than 2 hours.
However, that night, many netizens posted that the equipment at the Kunshan concert was unprofessional, the effect was very poor, and there were many unknown singers. Wang Xinling and Zhang Shaohan each sang only 4 songs, Li Jian sang 7 songs, and more than half of the concert was sung by other singers and orchestras, causing the audience to collectively shout for ticket refunds.
Social media screenshots
The concert was angrily refunded by the audience, which is not an exception. Less than half a month ago, a similar scene occurred at the famous singer Xu Meijing's Nanjing concert.
On the evening of April 20, the content of his concert was alleged to be "too watery", causing controversy, and a large number of audiences shouted "refund" in unison. Some netizens said that the total duration of Xu Meijing's singing in the whole concert was only 30 minutes and 5 songs, and classic tracks such as "Spread", "Regret" and "Moonlight in the City" were all sung by bands and backing singers, and the rest of the time her agent was full of interaction with fans. On the 22nd, many fans complained to 12345 and Damai.
Going back further, the Mayday concert "Lip Sync Turmoil" is vivid. On the one hand, the concert is "hard to find", on the other hand, scalpers have high-priced tickets, poor on-site order, lip-synching, paddling, and "platter"...... The hot concert controversy is frequent.
Public consumption returns to rationality
According to Wang Xiaoyu, a distinguished expert of the World Tourism Cities Federation and a special researcher of the Tourism Research Center of the Chinese Academy of Social Sciences, the popularity of the concert is partly due to the public's pursuit of emotional consumption and experiential consumption, and the crux of the frequent controversies such as "lip-syncing" and "paddling" lies precisely in this.
"Due to global political and economic instability, as well as internal and external environmental impacts, the consumer industry is also undergoing drastic changes, and the public is no longer blindly pursuing material luxury. Wang Xiaoyu analyzed that this also puts forward higher and newer requirements for cultural consumption content. As far as the concert economy is concerned, the public is paying more and more attention to the sense of live experience and overall cost performance, and if it is found that the quality is not up to par, it will naturally trigger a strong willingness to complain.
"The pursuit of cost performance, the pursuit of quality, and the pursuit of good service are not only for functional material consumption, but also for the public's requirements for cultural consumption. Wang Xiaoyu emphasized.
Zhang Shaohan's "Big Lotus" concert scene. Photo by Chao News trainee reporter Wu Fumei
In addition to the high quality requirements at the audience level, the service system behind the concert is also an important factor in determining whether the controversy is or not. Wang Xiaoyu said that core attraction, high-quality public service support, and one-stop adaptation products are indispensable. "The attraction of concert guests is one of the factors, but the supporting services behind it are also an important factor in determining the public experience. If the organizer just holds the idea of 'cutting leeks' with the feelings of fans, the final effect is bound to backfire. ”
How should the concert economy "continue to sing"?
At present, concerts and music festivals have become a new engine to stimulate urban consumption. More and more young people are willing to go to a city for a performance, or even cross the country just to chase a concert. However, in the context of the strong rise of the performance market across the country, how can the concert economy "continue to sing"?
Zhang Shaohan's "Big Lotus" concert scene. Photo by Chao News trainee reporter Wu Fumei
"The spillover effect of concerts on cultural tourism consumption is obvious. Wang Xiaoyu said that whether it is a music festival or a concert, it will bring a large number of long-distance young customers during the performance, and will also drive the instantaneous consumption of destination accommodation, catering, and scenic spots to a certain extent.
In his view, the performance economy is driven by a combination of "theme activities" + "pan-cultural tourism consumption". Traditional cultural tourism destinations or scenic spots, due to the homogenization of products, are in urgent need of characteristic IP, themed cultural attractions or activities to attract tourists, and the lightest investment and fastest effect is to create various festivals and organize theme activities.
Although the blessing effect of the concert on cultural tourism is obvious, he also emphasized that "only by forming an environment and market where urban cultural tourism and concerts undertake, incubate and coexist with each other, and produce a sticky sense of urban cultural identity, can the city rely on music festivals, concerts and other cultural performances to create its own unique performance brand." ”
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