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вЂњWhat we try to create is that sense of occasion a real event, a collective spirit where everybody around the world is watching and sharing the experience. On the other end, youвЂ™ve got what weвЂ™re doing, spending ВЈ200,000 on the production of an event at the Royal Albert Hall with seven cameras and 100-person crew. вЂњOne end of the spectrum, youвЂ™ve got the selfie-style, on your iPhone in your bedroom thing. вЂњThe phrase вЂlivestreamingвЂ™ shouldnвЂ™t be a catch-all,вЂќ he says. Read more: How The Pandemic Is Paying Off For Artists HeвЂ™s worked upwards of 100 hours per week since the companyвЂ™s incorporation in June of this year, selling more than 250,000 tickets in 92 countries and utilizing various established ticketing and tech platforms. вЂњ a solution in this new business for what we as managers and agents knew we needed,вЂќ Salmon says. Beggars Group came on as a founding investor and shareholder. The company was founded this year by ATC ManagementвЂ™s Ric Salmon and Brian Message. Driift, which has been getting a lot of attention in the paid livestream space with its high production and high return shows, focuses on the producer/promoter aspect.

There are three different parts to any livestream equation: the producer/promoter, the ticketing platform and the tech platform on which the stream is experienced. Still, it remains to be seen which one, or more, of these models truly works - and for whom.

The last eight or nine months have felt more like years in the rapid development of livestreams, and, in the process, artists have become wholly virtual entities. The companies and individuals involved in each of these iterations firmly believe their model is the right play in this space.

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The livestream medium has many models: big production pay-per-view, minimal production and free to watch, subscription-based and immersive VR, to mention a few.