{"id":89463,"date":"2026-03-17T12:28:29","date_gmt":"2026-03-17T12:28:29","guid":{"rendered":"https:\/\/www.pulse-z.eu\/live-music-vs-meta-spectacle-what-do-audiences-really-want\/"},"modified":"2026-03-17T12:28:54","modified_gmt":"2026-03-17T12:28:54","slug":"livemuziek-versus-meta-spektakel-wat-wil-het-publiek-nu-echt","status":"publish","type":"post","link":"https:\/\/www.pulse-z.eu\/nl\/livemuziek-versus-meta-spektakel-wat-wil-het-publiek-nu-echt\/","title":{"rendered":"Livemuziek versus meta-spektakel: wat wil het publiek nu echt?"},"content":{"rendered":"\n

In the 1960s, pop music audiences were largely teenagers eager to rebel against the limits imposed by their parents. By the 1980s and 1990s, artists like Dire Straits, Bon Jovi, Oasis, and Nirvana drew increasingly global and multigenerational crowds. Today, world-famous artists such as M\u00e5neskin, Rosal\u00eda, Taylor Swift, and Bad Bunny perform in stadiums around the world, reflecting the increasingly global and multicultural appeal of contemporary music.<\/span><\/p>\n

Artists like Bruce Springsteen continue to attract new fans alongside longtime followers, often bringing together three generations of the same family at a single concert.<\/span><\/p>\n

I\u2019ll Let You in on a Secret: Live Music Beats Sex<\/b><\/h2>\n

Recent studies show that people enjoy music more when it\u2019s performed live and experienced as part of a group. <\/span>Psychologist Lindsay A. Fleming explains this in <\/span>TIME<\/span><\/a>:<\/span><\/p>\n

\n

\u201cLive music triggers stronger emotional responses than recorded music due to the dynamic relationship between the audience and the performers. The visual cues, collective energy, and real-time responsiveness of live music engage more sensory and emotional systems than listening alone, deepening our visceral connection to the experience.\u201d<\/em><\/p>\n<\/blockquote>\n

This is why live music will never die. Nothing can replace it. The only ones still struggling to understand this are the so-called \u201csuper\u201d executives of the music industry.<\/span><\/p>\n

Today, most investment in music flows into streaming and publishing rights, while very little is devoted to developing new artists. Many are forced to launch their careers independently, often encouraged to build an audience on platforms like TikTok rather than through live performances.<\/span><\/p>\n

Most newspapers no longer review live music. Ticket prices are high and often packed with hidden fees. And yet, despite all these obstacles, the industry is still growing. Who would have guessed?<\/span><\/p>\n

Taylor Swift\u2019s \u201c<\/b>The Eras Tour<\/i><\/b>\u201d: The Decade\u2019s Biggest Musical Revenue Engine<\/b><\/h2>\n

During COVID, many experts doubted that nightclubs and music venues would ever recover. It wasn\u2019t just the virus. Digital platforms were tightening their grip. Then Taylor Swift turned her <\/span>The Eras Tour<\/span><\/em> into the biggest musical revenue engine of the decade. <\/span>The world noticed when it became the first concert tour to surpass one billion dollars in revenue<\/span><\/a>. And it\u2019s not just Swift and her devoted Swifties. In the United Kingdom, for example, concert revenues are growing twice as fast as recorded music.<\/span><\/p>\n

The figures, reported by <\/span>Music Business Worldwide<\/span><\/a>, come from <\/span>Live Nation<\/span>, a federation of 15 live-music associations representing 3,000 companies, 35,000 artists and 2,000 backstage workers.<\/span><\/p>\n

According to a survey conducted by <\/span>Live Nation<\/span><\/a>, live music is even more popular than sex:<\/span><\/p>\n

\n

\u201cAmong 40,000 people surveyed across 15 countries, live music ranked above movies, streaming, sports and even sex as the world\u2019s favorite form of entertainment.\u201d<\/em><\/p>\n<\/blockquote>\n

The <\/span>survey<\/span><\/a> covered audiences across Europe, Asia, and Latin America, offering a broad snapshot of global listening habits. In Europe in particular, live music remains a central cultural experience. Major markets such as Germany, Spain and Italy continue to see strong attendance at concerts and festivals, with audiences increasingly diverse in age and musical taste. For many European listeners, live events are not only entertainment but also a social ritual that brings together different generations and cultural backgrounds.<\/span><\/p>\n

Streaming is not a substitute. The same survey found that 84% of users believe live events give them \u201cmore life,\u201d while 80% would rather spend money on experiences than on material goods. There is little doubt that music brings people together: 71% of listeners worldwide listen to artists who sing in languages different from their own, and 84% say that live music unites people across borders, even strengthening family bonds.<\/span><\/p>\n

Every show is a broadcast. According to the same survey, <\/span>94% of fans post content online<\/span><\/a>, turning live events into the fastest-growing media channel in the world. For half of Gen Z, sharing content is one of the main reasons they attend concerts. About 86% rewatch their own videos, while 68% stream clips when they cannot attend in person.<\/span><\/p>\n

What happens on stage and among the audience quickly becomes what the world scrolls through on social media: live events are both the spark and the engine of today\u2019s attention economy.<\/span><\/p>\n

Female-Driven Live Music<\/b><\/h2>\n

The <\/span>analysis published by <\/span>Consequence<\/span><\/a> highlights another important point: female artists are among the main driving forces behind the growth of live music. We have already discussed the impact of <\/span>The Eras Tour <\/span><\/em>by Taylor Swift, but hers is far from an isolated case. One could also point to <\/span>Cowboy Carter World Tour<\/span><\/em> by Beyonc\u00e9, the highest-grossing country tour of all time; Olivia Rodrigo drawing the largest crowd in the history of <\/span>Lollapalooza<\/span><\/em>; Karol G setting the all-time ticket sales record in Spain; and Lady Gaga making history with the largest concert ever by a female artist thanks to her free show in Brazil. According to <\/span>Consequence<\/span><\/em>, 76% of respondents said they are interested in attending live events headlined by female artists.<\/span><\/p>\n

Have you heard of <\/span>Rosal\u00eda<\/span><\/a>, described by <\/span>The New York Times<\/span><\/a> as \u201c<\/span>the Rihanna of flamenco<\/em>\u201d?<\/span><\/p>\n

Rosal\u00eda Vila Tobella, born in 1993 in a town near Barcelona, studied and graduated from the <\/span>Escola Superior de<\/span> M\u00fasica de Catalunya<\/span><\/em> under Jos\u00e9 Miguel Vizcaya, one of the leading experts in flamenco. The subject of her thesis, a thirteenth-century novel telling the story of a woman and her husband who, driven mad by jealousy, imprisons her, later became the inspiration for <\/span>El Mal Querer<\/span><\/a><\/em>, her second album released in 2018, which propelled Rosal\u00eda to global success.<\/span><\/p>\n

Today she can boast collaborations with Bj\u00f6rk, Pharrell Williams, James Blake and J Balvin, as well as an appearance in the film <\/span>Dolor y Gloria<\/span><\/em> by director Pedro Almod\u00f3var.<\/span>
\n<\/span>Her achievements include two Grammys, eleven Latin Grammy Awards, four MTV Video Music Awards and two MTV Europe Music Awards. Her shows attract tens of thousands of fans from around the world, filling arenas and stadiums. In 2022, her concert at Mediolanum Forum in Milan set a record in advance ticket sales.<\/span><\/p>\n

But there is something else. Rosal\u00eda abandons the classic concert formula. Her concerts move beyond the traditional live format, becoming what could be described as a <\/span>meta-spectacle<\/strong>.<\/span><\/p>\n