国外乐队在中国的演出消费者调查结果分析

作为毕业论文的一小部分,我在SurveyGizmo网站上做了一个调查,截止统计前,共收回有效问卷219份.

问卷样本不多, 此外因为我本人的资源限制, 这次调查是通过我的微博传播, 以及音乐人攻略的发布, 所以调查结果会有更高比例的音乐重度用户, 不能反应正常的市场比例.

因此,这次问卷调查分析将主要采用选定一个变量来对比的方法, 而尽量避免单单从总结果来下论断.

1, 票价

有65.4%的人选择了”票价太贵”作为”没有去一个演出的理由”, 是所有理由之首. 那么多少钱的票价被认为是’贵’的呢?

有意思的是, 低收入人群和高收入人群对于’贵’的概念似乎是一样的, 尤其是对于大型演出—–在’您最高能够承受的大型演出(体育馆开的那种)票价’这个选项中, 月收入为0-2000, 和10000以上的两个群体, ‘500元’的选项分别都得到了最多票. 不管人们的收入多少, 500元是一个大家的’心理价位分界线’. 但是在现实的国外乐队大型演唱会中, 以James Blunt今年即将举行的演唱会为例, 500元只能买到倒数第二档的票, 很远, 你只能’watch the show with the bird’.如果演出体验不够好, 会打击观众对接下来的演出的消费热情, 最终会伤害到市场.

要进内场, 基本都需要四位数. 可是, 月收入10000以上的高收入人群, 没有一个人选了’2000元’为最高承受票价, 也只有5.7%的人选了’只要喜欢多少钱都去’. 相反看2000以下收入的人群(大部分是学生), 有5%的人选了’2000元’, 还有10%的人选了’只要喜欢多少钱都去’.

比起大型演唱会观众心理和现实的差距, 小型演出要正常得多. 大部分为学生的2000元收入以下的人群, 最高票价大部分选的是100元, 月收入5000以上的人群大多数都能够接受200元的小型演出票价.此外, 上海北京的被调查者能够接受200元票价的占大多数, 而来自’省会城市/其他直辖市/经济特区’的人们大多只能接受100元的票价.这些调查结果基本都跟现在的市场行为相符。

2,CD,衍生品和酒水

在这一块上, 90后和70,80后有着完全不同的消费习惯。71.9%的90后表示在演出现场不愿花30以上买酒水, 其中有28个百分点表示一分钱都不会花。7080后在消费酒水上要积极很多,只有16%的人表示不愿意花钱买酒水。但是在购买CD, 衍生品上面, 两个群体又反了过来。有18.7%的7080后表示”对所有衍生品和CD都不感兴趣”, 90后的对应数值只有6.3%。而在”在现场更愿意购买乐队的什么”一题中,87.5%的90后选了CD,比7080后多了26个百分点,并且有56.3%的人表示愿意花70块钱以上买国外乐队的CD , 7080后群体中只有46%愿意花到这个价钱。

90后对于CD的热情可能超过了大家的想象, 并不是说90后把CD当听音乐的介质, 毕竟调查显示免费下载和在线听才是主要的听音乐方式。90后成长在互联网时代,基本没有经历过唱片时代的辉煌时期,我很怀疑90后中有多少拥有CD机,但是这样的结果显示他们依然热爱CD—-作为收藏品。也有可能是90后的反盗版教育比较好。国内的Promoter并不都会出版唱片,不过从调查看来,这不应该是一项被彻底放弃的生意,在做好预算的情况下还是可以考虑这点的。另外, 有22.4%的人都对黑胶有兴趣, 虽然大多数人没有唱机。

3,群体与类型

80后听得最多的音乐类型是流行, 其次是摇滚和民谣。 90后听得最多的音乐类型是摇滚, 其次是流行和电子。毕竟80后还是成长在一个唱片黄金时代,不仅港台流行乐强大,在互联网出现前对于国外音乐的了解大多数来自引进版的磁带(玛利亚凯利后街男孩之类的),那还是一个MTV的时代,主流媒体包括电视电台对于消费还有很大影响。所以流行工业对于80后的影响会更大一些。

在所有列出的sub-genre中,英伦摇滚被证明是最受欢迎的。但是分开看80后和90后两个群体也有不同。90后群体的偏好排名是Indie rock>britpop>post-rock>Indie pop. 80后则是britpop>indie rock>indie pop>post-rock。

通过调查结果, 我尝试分出演出重度消费者, 对演出毫无兴趣的人, 以及最marketable的消费群,然后看看这三类人的preference。

我将看演出频率在一个月一次以上的人归类为重度消费者: 他们听得最多的音乐类型是rock, 最喜欢的sub-genre是britpop其次是indie rock和post rock。82%的人通过豆瓣获取音乐信息。

把13题选择’没有此类(去看演出的)需求’,第7题选’我不听西方音乐’,12题选'(对越来越多来中国演出的国外乐队)不关注,不感兴趣’的人归类为对演出毫无兴趣的人; 这部分人占所有调查者的29.7%。他们最喜欢的音乐类型是pop, 最有好感的音乐标签是indie-pop, 他们大多通过微博来接受音乐信息。

把第12题’近年有越来越多的国外乐队来中国演出,你的态度是?’选择’有空就去看看,哪怕不认识’以及’认识的都想去看看,哪怕不是粉丝’的受调查者归为最marketable的群体。对演出他们态度很open,可去可不去,一场演出赚不赚钱可能就取决于能够吸引到多少这样的群体。他们应该是演出推广的重点受众。要知道,他们中有41.5%的人都曾因为’懒了’而没有去一些演出。

90后的受调查者中有34%属于这个群体,80后略少,23%。在获取音乐信息上,他们传统媒体的使用率非常低。听得最多的类型是pop,主要使用豆瓣获取音乐信息,能够接受的小型演出票价是最高100元。月收入为0-2000的人中有26.7%属于此类, 2000-5000有28%,5000-10000有22.4%,10000以上有17.1%。总的来说还是5000以下的偏低收入的群体有更多的人采取此种态度。10000以上的高收入人群基本上都已经有了比较固定的消费观。此外女生比男生对于演出的态度open得多, 选择’有空就去看,不管认识不认识’的人中,有60%是女生, 选择’只要认识都想看看,哪怕不是粉丝’的人中,有59%是女生。选择‘只看大牌’的,有60%是男生。

4,最想看到哪位国外乐队的演出。统计过程艰苦卓绝, 各种拼写方式….最终radiohead以超第二名coldplay一倍多的票数排名第一。统计结果如下:

1       Radiohead
2	Coldplay
3	Muse
4	Oasis
5	Beyonce
	Lady Gaga
	U2
8	Adele
	EMINEM
	Keane
11	blur
	Green day
	Jason Mraz
	Linkin park
	Metallica
	red hot chili peppers
	suede
	The Cure
18	Mariah Carey
	Mogwai
	Placebo
	Westlife
22	Adam Lambert
	Avril Lavigne
	Black Rebel Motorcycle Club
	James Blunt
	Larc-en-ciel
	Sigur Ros
        Sum 41

另外八卦一下:90后中有一个人选的月收入10000+。。。。两个人选的2000-5000。现在小朋友比我们那时有钱多啦!

另另:我想看看选择‘只想看大牌’的都是些什么人,后来发现他们在音乐标签好感度上,金属的排名高达第二位。

另另另:调查的总报告有17页,不知道怎么贴在这里,再想别的办法上传。也可以留言私下找我要~ 需要单独选择哪个群体的报告也可以。

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Glastonbury媒体评论

很喜欢Guardian和The Observer的两篇评论,先摘在这里,有空了翻译.很明显radiohead被批了,因为的确king of limbs这张专辑就不大受欢迎(参考NME的恶评),而他们演了很多这张专辑的歌,没有演hits,被认为是很不friendly. 还扯上了去年Gorillaz那失败的headlining set. 总之Guardian这篇把radiohead说得实在太不堪了,没听到hits的歌迷伤不起啊…但是hits唱太多了也不行! Coldplay把一辈子的主打歌都拿出来唱了,也被评论说得一般般,远没有elbow评价高,’你要多么铁石心肠才不会被elbow感动’.Beyonce被大赞,热切同意,’她甚至有勇气一开场就把最热的两首歌演掉了’,霸气!

Guardian: The Glastonbury festival showed it’s a place where anything can happen

At Glastonbury 2011 Radiohead ignored their hits and paid the price, U2 worked hard but couldn’t connect, Elbow made a triumphant return and Coldplay judged the temperature just right.

… But even if you’re trying to concentrate on the music, the weather’s impossible to avoid, largely because it changes the way audiences react to what’s happening onstage. By Friday afternoon, Glastonbury’s usual we’re-just-glad-to-be-here atmosphere of blithe acceptance has evaporated, replaced by a kind of grim fatalism: the crowd’s mood is more difficult to judge, artists have to work infinitely harder to win them over. It’s tough on the Vaccines, who have decent tunes to spare but not a vast amount in the way of charisma. “Who gives a fuck if it’s raining?” offers frontman Justin Young, or at least words to that effect. There’s a rather wan cheer in response, a sound that seems to say: well, we do mate, largely because, unlike you, we won’t be getting on a luxury tourbus and leaving in about an hour.

…This year, aside from one doughty soul who insists that Friday night’s unbilled performer is going to be Lionel Ritchie, everyone seems to know in advance that they’re bringing the rest of Radiohead with them. The crowd that elects to trudge up the vast slippery gradient to The Park area is vast enough to not only fill the area in front of the stage, but the hill that overlooks it. Back at the Pyramid stage, Morrissey is left belting out Smiths songs to a sparse audience – although it starts getting noticeably less sparse when it becomes apparent that Radiohead intend to play a set almost entirely drawn from the recent King of Limbs, an album that received a pretty lukewarm reception, at least by their standards. In fairness, you could argue that expecting Radiohead to start pandering to the wishes of a mass audience is a bit like expecting Radiohead to come onstage and perform a cover of Baggy Trousers while Thom Yorke flies around the stage on wires: on one level it’s a strangely appealing idea, but it’s never going to happen.

If you believe that you can tell how well a Glastonbury set is going by how easily the audience has its attention drawn from the performer by the panoply of other sights on offer – during Gorillaz’s lacklustre headline appearance last year, a large section of the audience was distracted by the diverting sight of a man climbing a wooden structure stage left and exposing his genitals – you might note the fact that about three songs in, the hill keeps exploding into random applause. Alas, they’re not cheering Radiohead’s boundless determination to look forward, to be unswayed by the demands of those less musically adventurous than them, but the sight of people who’ve decided to leave and realised too late that if you get too much momentum behind you when walking down a muddy hill, it’s literally impossible to stop until you fall over, and sometimes not even then. It’s like a cross between You’ve Been Framed! and It’s A Knockout up there, albeit with an incongruously gloomy soundtrack.

Tonight’s secret guests on The Park stage are even less secret than Radiohead: the Sun has already informed the world that it’s Pulp. The crowd is even bigger than the preceding night’s, the atmosphere utterly different. As with the re-formed Blur’s set two years ago, it’s not merely celebratory, but marked with the lovely feeling of restitution, as if the crowd is trying to apologise on behalf of the British public. As Jarvis Cocker noted at the time, one of the reasons Pulp split up was that “nobody was that arsed” about their records any more. They seem very arsed indeed tonight: the set is a reminder both of what an engaging frontman Cocker is, and of how many fantastic songs they had, overshadowed in the collective memory by Common People: Razzmatazz, Something Changed…

It’s a triumphant return, as is the appearance of Elbow on the Pyramid stage, three years on from the televised performance that belatedly catapulted them to mainstream fame. The line about them being The People’s Band is both a cliche and a bit daft, suggesting as it does that every other band’s fanbase largely comprises hamsters or chickens, but you see immediately why it’s come about: the warmth radiates irresistibly from the stage, the sense of their performance as a kind of dialogue between artist and audience impossible to avoid. The crowd adore Guy Garvey: every time he smiles, which he does a lot, in the manner of a man who can’t quite believe his luck, they go berserk. They encourage him to down a pint, he gets them to sing Happy Birthday to the band, formed, he claims, 20 years ago to the day. The elusive Glastonbury moment of collective transcendence doesn’t just happen, it keeps happening, over and over again: a majestic, charged version of Open Arms, the beautiful drift of Weather To Fly. There’s something inevitable about the finale of One Day Like This, but what you can’t prepare for is the sheer emotional force of the audience’s reaction, which knocks you sideways: you’d have to be a pretty flinty character to remain unmoved. Certainly flintier than Garvey, who understandably looks close to tears as he leaves the stage.

The feeling that it’s a performance that’s going to be hard for Coldplay to top is hard to avoid, and in a sense they don’t: you certainly don’t feel the kind of intense emotional connection that ran through Elbow‘s set, nor do you get the visceral power emanating from the Other Stage, where the Chemical Brothers, never the most opaque band, sound particularly cataclysmic and thrilling. What you do get is the feeling that Coldplay are a band who know exactly how to headline Glastonbury, having had a lot of practice at it: front load the show with hits, place the handful of new songs in such a way that the audience barely notice them – with the best will in the world, the fact that they’re not terribly memorable probably helps – and get them singing along. Whatever you think of their music, you’d have a hard time arguing that it doesn’t work in this situation, and it’s impossible not to be impressed by how assured their performance is…

The Observer: Festival watch – Glastonbury 2011

Beyoncé easily eclipses fellow headliners U2 and Coldplay

…Radiohead struggled to make a set drawn largely from their difficult King of Limbs album connect with the crowd. Pulp triumphed from sheer force of personality. Well, that and a load of goodwill – even those who had decamped right back to the Stone Circle were singing along to the bespectacled speck in the distance.

One woman single-handedly saved the main stage: Beyoncé‘s set created fireworks, not just because she had actual fireworks going off every five seconds, but because she dared to detonate her two biggest hits first and didn’t let things deflate thereafter. She also made an Alanis Morissette cover seem not entirely like the worst thing in the world.

It was a lesson in big performance to the other two headliners, who performed fine if not career-defining slots. It says something about U2‘s bombast that they can get an astronaut in to sing backing vocals on “Beautiful Day” and still have people feeling let down by the stage show – but their set did fall slightly short of expectations and not just because of the drizzle. Coldplay brought a bit more spark but were let down by the fact they were, well, Coldplay. It just didn’t seem essential to catch a band who had already headlined the festival twice in the past decade.

Elsewhere, Janelle Monáe wowed West Holts, Elbow reduced grown men to tears (again), Patrick Wolf apologised for his chaotic 2007 appearance with a charming show and Paul Simon unveiled the hits in a lacklustre manner. On balance, a great year, though nobody will begrudge Glastonbury their break until 2013, when no doubt Prince, Paul McCartney and Madonna will form a supergroup for a secret show in the John Peel tent. Or something.

我发誓这是交论文前最后一次再在网上乱看G节的东西…..

Our Glastonbury: One day like this a year’d see me right

我发誓我今天一定要get over这个post-glasto-fever…把自己拽回到现实中来…那个dissertation…

一个一个片段在心里搅着,包括那些不那么愉快的,跟泥艰难的斗争,被太阳晒到汗醒,那可怕的不能冲水的厕所,被酒醉的臭烘烘的人挤到崩溃,现在想起来只有幸福。我好幸福。你们都懂的,林,肥仔米,Bill,Alex,Jon,我们的glastonbury crew。

我不会拍照,连相机都没带,偷了好多图来,会拍照片真好。

在去看radiohead的路上,看到了一片雨鞋尸体,中间一块小板子写着‘wellies graveyard’。肥仔米走路重,一天摔了起码五次,走着走着双脚就拔不出来了。记得一天晚上在dance village门口,人多到死,没法挪动,可是稍微站一会儿脚就被泥抓进去了。一个1米9的大个子挤过时,林被一把按在泥里。第二天早上出来发现那个地方地里埋了无数雨靴尸体。走得真累,每一步都是一把辛酸泪。

看katy B的时候一则短信让我们全部都凌乱了….radiohead是晚上的special guest!!! 在’外面’的同学在网上看到了消息,迅速地通知了我们glastonbury crew。天啊,我们要看到Radiohead Radiohead Radiohead了….嘘!小声点!别让别人都知道了!噢!我们要看到广电总局广电总局广电总局了!提前两个半小时冲去the park舞台,我们一路巨二地喊着’广电总局’,肥仔米嗖嗖地走得那叫一个快,神奇般地再也不摔跤了。到了才发现,妈的原来大家都知道了!一路上也根本没听见人喊,估计大家都用着各自的语种藏着掖着呢。真是二透了!一个使劲往里挤的姑娘还大喊‘Radiohead Cancelled’,压根儿没人理丫!

他们居然唱了street spirit…这是唯一一首来自前三张专辑的歌。肥仔米哭了。林起鸡皮疙瘩了。一对情侣忘情地在散场的人群中接了很久的吻。我没哭。我从头到尾一直是懵的。我的哭点特么的早在看第三支乐队的时候就来了。The Vaccines,并不是他们的超级粉丝,但是跟着前后左右一起唱着他们的歌就莫名地很有爱。唱最后一首歌之前,他们说,他们上次来glastonbury的时候,台下只有3个观众。真的,也不知道怎么的,这时我的鼻子就酸了,心里飘过了诸如“希望”“理想”之类耸动的词汇。心里还嘲笑自己,妈的乱哭啥啊。

第二天有点悲剧,什么乐队都想搂一眼,在泥里走到半条命都没了。一上来就被Yuck很烂的表现打击了,the horrors没有听出感觉,Jimmy Eat world听得很尴尬,再加上为了挤the kills的好位置提前听了几乎一整个set的jessie J,很难听诶。。。除了那两首主打歌。。。直到晚上,Elbow拯救了这一天。

我们站在内场的最后面。旁边儿一个日本姑娘穿着Elbow的T,就一个人,就这么静静地站在人堆里等开场,看一眼她的眼神就觉得这是个真的爱Elbow的人。下午看The kills的时候我们挤到了第一排,后来发现第一排有好多都是等着抢镜头的傻帽们,要不就是抱着栏杆休息对音乐毫无反应的人,卡在我们旁边特别煞风景,气得我们想把她们扔出去。

猜中了以The birds开场。这支组团已经20年的乐队做的音乐感觉像成仙了一样,不管低着头听,还是仰着头大合唱都那么快乐。在Elbow面前全场观众都变成了白痴一样,Guy喊举手大家就齐刷刷地举手,喊蹲下就齐刷刷地蹲下,从第一排到站在后面山上的所有观众居然玩出了人浪,Guy很得意地说:这是我自己的发明噢~ 大家起哄着让Guy把手里的啤酒干了,一喝大家就欢呼,一放下大家就boo,都像小孩儿一样高兴。One day like this a year’d see me right。听到这里,觉得好像跟全世界相爱了一样。

没有太纠结就决定放弃Chemical Brothers去看Coldplay。Fuck所有酷人们,情结这东西…不跟你们解释…挤到了很前面的位置,后来发现有点悲剧,被挤得像穿了背背佳。除了4首没听过的新歌,我们和全场观众一起从头唱到尾,他们也太给观众面子了,唱了大概有10首前两张专辑的歌。Encore的fix you很感人。可能对他们实在太熟了,最终我并没有很激动,我觉得Elbow已经赢了Coldplay。不过Bill说,有一个画面他死都会记住,就是下面这个男人,光着膀子举着烟花的样子。他就在我们旁边。

第三天,最完美的一天。泥干了,走路前所未有地顺畅。我们也有了足够的经验,The joy formidable很好,Laura Marling很好,Pendulum很好。Pendulum的时候,看到有人竟然躺在气垫床上surfing,就这么从外场一路被大家用手运到了内场,跟这比起来,跳水什么的忒土了。大家一边儿玩着这只恐龙,一边儿欢乐地起哄。

肥仔米嚷嚷着晚上去看Suzanna Vega,我们一遍又一遍唱着’my name is luka’嘲笑她….看什么Suzanna Vega啊,当然看Queens of the Stone Age啦! 正当我们准备去挤Queens of the Stone Age的时候,突然神奇的事情发生了。我们,突然,完全突然地,说,不如去看Beyonce吧!我们嘲笑这个念头嘲笑了10分钟,然后,竟然,走向了,Beyonce的舞台…酒早在pendulum的时候就喝完了,我们是完全清醒的。站在beyonce的人堆里,我们莫名其妙的,瞬间就,high了!我们怎么也忍不住笑,也不知道在笑什么,我发誓我们没碰大麻,只是抽了几支中南海而已!我们发现自己只会beyonce的两首歌,single lady和crazy in love,还没开场,我们就在人群里’噢哦噢哦噢哦哦哦哦哦’地无限循环唱仅会的两句.前面一帮人在大声叫一个叫Alan的人,我们跟着叫Alan Alan…前面的大叔回头看了我们好几次,一定觉得我们这帮人一定是磕粉了,要么就是碧昂斯的hardcore死粉。我们一边笑一边说,有没有搞错,整个Glastonbury最high的时刻居然是碧昂斯啊!!!

碧昂斯也太给面儿了,开场就是我们仅会的这两首歌。她说:’I always want to be a rock star. Tonight, I’m gonna make you fall in love with this music.’ You Rock, you really do, Beyonce!看了一会儿我心里就五体投地了,真好看啊!而且发现beyonce其实还满可爱的以前都没有注意到。看那舞,那衣服,那舞台,那和声,那歌儿,就觉得,流行工业真牛逼,真精致,真有技术含量…某些摇滚太简陋了实在是!bbc的主持人是这么介绍beyonce的:She sings, she writes, she’s got the moves. She’s a package!哈哈,Package,没错儿!这词儿真妙哇!

我们舞着巴掌跟着吼完single lady渐渐冷了下来,于是开路去看Queens of the Stone Age。人群边缘,一个男人裸着上身在边上忘情地跳舞,很美。bill说,这是他死都不会忘的另一个画面。可是我的注意力被吉他声带走了。我瞬间有点儿懵,jesus christ,你听见这吉他声了么???我们迅速挤进去,呆掉。三分钟的吉他solo,一层一层铺高的动机,鼓的数次节奏变换,像龙卷风一样,听到气也喘不上来。Jesus Christ! 妈的我们怎么没早点来,什么英伦什么小清新什么dubstep什么drum and bass,在这架摇滚老炮儿面前全部浮云了。。。真正的Rock n Roll star…他们做了所有摇滚老炮儿们爱做的事,说了很多Fucking,很老式的甩头,叼着烟弹琴,演出结束帅气地把吉他挂在话筒架上。这样的事是为了这样的乐队而存在的!有些乐队做起来就特傻!

主唱一脸不屑地扯到了无辜的beyonce:‘Let’s make Beyonce feel it in her bones。’又一轮吉他龙卷风开始。我们都笑了,作为刚从beyonce舞台跑来的人好像有点儿丢人似的。。。不过我一点儿也不后悔。Beyonce很好,QOTSA也很好,大家都很好,都很好,很好,好。。。。。

PS: 这些好看的图分别偷自NME, Guardian, The Atlantic.