iMe Entertainment CEO Zhou Jiahai: Opportunities and Future of China's Concert Market

With the increase of per capita income level, the proportion of public spending in entertainment and entertainment continues to grow, and music-related industries as an important entertainment field have ushered in a new prosperity under the background of copyright normalization. Recently, the 2018 Little Antlers China Music Finance Fair was successfully concluded in Beijing on April 13th. The participation and sharing of more than one hundred audio and entertainment industry guests revealed the vitality of the industry.

In addition to the hot frontier topics, the transformation and future exploration of the "elderly" field in the industry of large-scale performances has won wide attention in the industry. Zhihe Zhou , the domestic real economy experienced a transformation from the impact of e-commerce to e-commerce bottlenecks and the last e-commerce entity's combination of online and offline co-prosperity. So what are the pain points in the domestic performance market and where are the opportunities? The in-depth analysis of Mr. Zhou Jiahai, CEO of iMe Entertainment Group, provided us with valuable ideas and ideas.

iMe Entertainment is an Asian multinational entertainment group headquartered in Beijing, China. The professional teams in 12 countries and regions in Asia and large-scale projects such as BIGBANG Asia Tours have laid the foundation for Zhou Jiahai's professionalism and forward-looking content.

l More and more people are watching live performances, but music consumption is still relatively expensive

Although China’s performance market continues to grow at a rapid pace with the economic environment, in Mainland China (excluding Hong Kong, Macau and Taiwan), the average ticket price for a live concert is 17.24 per capita GDP per month. %, while the United States is 1.81%, Japan 3.11%, and Britain 2.87%. Zhou Jiahai believes that music consumption is still relatively extravagant in the film industry in the country compared with the hot trend. The average price of a domestic concert performance is about 600 yuan, while in Japan, Europe and the United States and other developed regions, the average price is about 200 yuan. This data may not be accurate enough, but it basically reflects the pressure on people's music consumption. In other words, if you buy a concert ticket in China, you can buy 3 tickets in Europe and America.

What causes this? This is because European, American and domestic audiences have different appreciation habits for performances. European and American audiences will actively review performance information through the band's official website, music magazines, and music websites. It is a pleasure to enjoy music festivals and watch concerts. The normal lifestyle.

Of course, European and American performers and theater parties will also do propaganda through various channels, such as propaganda flyers, but their efforts are far less than domestic performances. In order to make up for the lack of market education for music consumption by the domestic public, the more domestic artists perform their promotion, the more the fares will indirectly increase.

l In the fan economy era, the organizers can move from behind the scenes to the stage, and the derivatives market can expire.

According to the “White Paper on Chinese Music Fans” released by iResearch, among domestic music fans, “post-90s” accounted for nearly 94%, and “students’ army” accounted for 80.7%. The trend of the fans is that we held a successful concert. The foundation of the meeting, which forced the organizers to go from behind the scenes to the stage to get close contact with the fan community. The fan's portraits are drawn through the dimensions of fan sex and age distribution, educational background and geographical distribution, constellation distribution, emotional state distribution, favorite music style, pay behavior, and terminal usage, and the fans' marketing is used to promote idol effects.

The fan economy has always been a hot topic in the entertainment industry. Is it the revenue pillar or false proposition of the concert? Zhou Jiahai believes that the fan economy has only just begun. Before you can harvest your fans, you must first understand what your fans want and know how to serve your fans. The idols serve fans and fans consume goods with emotional premiums. The derivatives market is promising when fans are willing to spend for you.

Concert revenue mainly consists of investment and box office, and ticket sales still dominate. However, relying on the blood-making ability of the concerts and music festivals in the future to support its sustainable development, this is the key and a truly virtuous circle. Just like the development space of movie derivatives, the market for concert derivatives is still far from being developed. Sales of Hollywood, Japanese and Korean derivatives accounted for more than 70% of the income of the brokerage companies. In 2016, China's entire concert was about 3.5 billion at the box office, and sales of peripheral products were less than 10%. In the future, it is likely to have a billion-dollar explosion.

l The demand of the audience continues to increase, and the sound transformation of the performance market cannot be separated from the capital

The customer is the God of the company, and the God of the concert is a huge fan base. It is the foundation of the concert industry that can best meet the needs of fans. To make fans pay for it, it is necessary for the industry, especially the organizers, to continue to transform and improve in order to keep pace with the changes brought about by changes in the fans. Actually, the demands of the audience on the performance have been improving all the time. From the very beginning, “I love idols can be very happy”, to the best audiovisual experience on the spot, even to extra services and exclusive content outside the performance. The expansion of demand is bound to allow the performers to hit unknowns and setbacks in the cross-border way on the road of all-round development, and the intervention of capital can better help the interactive resources of the performance industry to form a cross-border transformation.

In the end, Zhou Jiahai also shared the future plans of iME Entertainment Group for the past 12 years. As the organizer of China's Big Three medium-sized concert and the leader of the concert industry in the Asia-Pacific region, Zhou Jiahai will strive to promote the development and innovation of the music marketing model and rely on fan marketing to create entertainment. Performance chain economy, improve the layout of the pan-entertainment ecology. He said that 25 years of industry intuition allowed him to determine the impact of China's speed on the world. As long as he seizes the opportunities of the times and closely follows the development pulse, we will inevitably create a sample of vitality industry and make the performance industry in China become a Zhang Xin . Cultural business card.