Will livestreaming become the new business model for venues in the post coronavirus landscape?


On March 16, the Melbourne Symphony Orchestra played its first ever livestreamed show, at an empty Hamer Hall. It drew 5,500 people from around the world – double the capacity of the venue.

When Live Performance Australia and other music industry leaders met with federal arts minister Paul Fletcher for a A$850 million survival package, among the calls was funding for a ‘new funding to enable performances to be delivered through innovative online or digital platforms.’

Overseas livestreaming companies report being swamped with business. One, the nine year old Hollywood-based ‘digital venue’ Stageit, which has its own currency for paying and tipping, counted its best month in 2014 when it generated US$274,000.

This month, it made nearly $100,000 in a single day.

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Header photo: Chris Martin, Stella Donnelly and Cyrus take to socials to perform

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