In this virtual era, telemedicine, teleworking and others, Haitian artists from everywhere and from all backgrounds are entering this game, and therefore are organizing virtual shows. Going among other things by the “Roots”, Rap, Compass, Gospel and Slam trends, Haitian artists and groups continue to deliver us virtual concerts where a good connection is enough to savor the favorite pieces of each artist / group.
These virtual concerts, to respond to the effects of the pandemic, have a cost which requires a detailed analysis if one approaches the economy of shows or live shows. Indeed, if it is true that fans and those interested, from their home benefit from concerts for which they have paid nothing, because ticketing is no longer required. However, the organization of these shows requires the mobilization of economic, technical and human resources. In fact, you have to organize the stage of the show, the sound system, the instruments, the lighting, the sets, etc. All of this comes at a cost, and the staff or professional recruited often demands a fee or salary. This is normal, especially if it is not from the organizing staff.
Since generally, we display sponsors and / or partners, we might wonder if the latter cover all expenses. Or on the contrary, the cumulative revenue is added to cover these expenses. Or why are we trying to raise funds during virtual concerts? How do you know if there is a gain, if the objective was economic, in the organization of shows? Why is information not available to be able to produce a deeper reflection on the economy of shows, live shows, or virtual concerts?
With the exception of all this, and ironically of course, we heard artist T-Ansyto from his group Maestro, complains of a loss of 23,000 US dollars in a video circulating on social networks. In addition, he affirmed that the artists and groups lie on sums said collected during their concerts, because he himself was able to collect 468 US dollars and 50 gourdes. Indeed, how to believe in this information, and in what it concerns us? Why bet such a sum in the hope of the voluntary contribution of Internet users? Why complain if you satisfy the fans and interested?
Obviously, to organize virtual concerts, it is necessary to have recourse to human, financial, economic and technical resources. All of this combines to provide a finished product, stage performance without physical spectators. So we can say that we are in the era of empty rooms and an economy that is no longer ticketing. The evaluation of the success of each show can be summed up, among other things, by the number of Internet users who watched it on various social networks and platforms. The performance does not matter, if not for certain informed Internet users who ask questions, but the artists and groups always say that the mission is accomplished. So what is the mission? Maybe raise money through online platforms. Maybe satisfy the fans.
NB : These virtual shows make it difficult to think about an economic approach, because no data is available.
Job Pierre Louis