Musicians have not only made the shift over to live streams, they’ve also led an expansion of existing channels and a move to more visual production. FEED explores how different aspects of the music business have embraced streaming to keep artists and fans connected
BRIDGING THE GAP
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witch is determined to make music as popular on the platform as gaming. Head of live at Manchester-based Scruff of the Neck (SOTN), Chris Brearley explains how the company introduced SOTN TV in January, partnering with Twitch. Initially bringing live shows to living rooms, the company is already evolving its streaming presence. “Each SOTN show is a three-hour broadcast. Hosts Abbie McCarthy (BBC) and Jack Wood (Radio X) sit down with two artists,” Brearley explains. “They chat for 30 minutes – with the audience participating in a three-way dialogue via Twitch.” The artists also perform a 45-minute set, captured with Blackmagic Design streaming equipment. Although Covid-19 gave rise to the initiative, Brearley doesn’t envisage the return of gigs making this form of broadcasting redundant. “We want to evolve and give the show purpose beyond what it is now.”
“Big-name bands have money to spend, and new artists get away with a DIY set-up. But there are also artists whose reputation dictates a certain production level – touring isn’t an option and they can’t gamble financially on live streams.” SOTN TV potentially removes the risk of artists losing money in this way, while also promoting them via Twitch. Technically, portability and ease of use are vital components of making this venture work. “We particularly like using the Atem Mini
New artists and established acts are often cited as being most affected by the pandemic, but Chris highlights unaided artists occupying the middle ground.
Extreme ISO. It’s a powerful piece of hardware and very easy to set up on location,” Brearley concludes.
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