Emerging Patterns of Participation in Virtual Live Concerts

An Initial Study of UK Audiences Post-COVID

Authors

DOI:

https://doi.org/10.5429/2079.387(2025)v15i1.5en

Keywords:

metaverse, live performance, virtual concerts, virtual reality, livestream, audience behaviour

Abstract

Digital disruption has radically reorganized the sociality and economics of the music industries. This is perhaps nowhere more apparent than at ‘virtual’ concerts in Massive Multiplayer Games such as Fortnite, in Virtual Reality platforms such as VRChat and in web 3.0 worlds such as Decentraland. This chapter presents the results of a study exploring the behaviours and values of audiences of live online music events. We begin by reviewing the existing literature on livestream and virtual music. We introduce our study of 1003 UK respondents, conducted in early 2023, finding shifts in audience behaviour and values that have endured beyond the era of COVID isolation. We conclude with insights about the present limitations to the appeal of virtual music events, the key features that are likely to drive greater adoption and participation, and a proposal for live music events in the metaverse that aligns with audience values.

Author Biographies

Laryssa Whittaker, Department of Media Arts, Royal Holloway, University of London

Laryssa Whittaker is a Lecturer in the Anthropology of Audiences and StoryFutures User Research Lead at Royal Holloway, University of London. She explores the attitudes, values, and patterns of engagement around immersive experiences to understand the industry’s future audiences. She has led research on virtual reality audiences, including a longitudinal youth audience study on home-use VR.

Tom Wagner, Department of Music, Royal Holloway, University of London

Tom Wagner is a Teaching Fellow in Music Performance and Digital Arts at Royal Holloway University of London. His work focuses on interplay between music, marketing, and transcendent experiences in consumer culture. It has recently been published as a monograph entitled Music, Branding, and Consumer Culture in Church.

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