“I was Crying and had Insomnia Every Night”: Live Performer
ZENDEN TAN speaks to performers, attendees and live stream providers to discuss the effects of the loss of ticketed performances and the role of live streaming sites like Twitch.
Keyword Tags: The Sound of Alvin, Alvin Ee, Chloe Ho, BeLive, Kid Gospel, Robin Chua, Tiko Disco, Kenneth Tan, FMS Gives Back, Twitch, Livestreaming, Music, DJ, Performance, National Arts Council, Emo Night, Indie Music, Pop Punk
Photo Credit: Mr Alvin Ee Wei Liang & Mr Zinho Tertuliano De Costa, Photo of Mr Alvin hosting an event in 2022.
“COVID-19 was like a fresh start for me,” said Mr Alvin Ee Wei Liang, 28, a full-time disc jockey (DJ). During the pandemic, Mr Alvin reinvented himself as a performer, shifting from guitar and beatboxing to a full-time DJ on Twitch.
COVID-19 marked a catastrophe for ticketed performances in Singapore. According to National Arts Council, National Heritage Board, and People's Association, total ticketed performances in 2020 were 945, dropping 68.92% compared to 2019. Ticketed performances used to average between 3000 and 3500 in a year, how did performers cope with such a sudden drop?
The distance created by the loss of ticketed performances not only impacted performers financially but also reduced their ability to connect with their fans. It tested our local performers' spirit and perseverance. Mr Robin Chua, 50, Tiko Disco DJ, shared that the financial and mental toll nearly caused him to quit altogether, “you wonder how long this pandemic period lasts and if there's a need to switch jobs and work at something else.”
Livestreaming became the answer for many performers to reconnect with their audience. Mr Chua said, “[livestreaming providers] gave [performers] a platform to share music and hopefully continue the audience engagement we used to have before the pandemic period.” Mr Kenneth Tan, 37, CEO of BeLive Technology, also comments on the need for performers to adapt to video content. “Video dominates consumer behaviour, 82% of Internet usage this year has been for video, and it will continue to grow.” He said.
However, live streaming isn’t easy. “I was crying and had insomnia every night.” Said Mr Alvin on his initial switch to live streaming. “If I'm doing this every week, where are the results?” There’s always a silver lining, and for Mr Alvin, the lack of interaction with fans changed the way he saw himself as an entertainer. “You have to redefine the word entertainment all over again.” Said Mr Alvin, stating that the pandemic gave him a “fresh start” to reinvent how he connected with his fans. Finally getting that connection back, for Mr Alvin, “it [felt] like falling in love again with your passion”.
Photo Credit: Mr Alvin Ee Wei Liang, Photo of Mr Alvin’s “Saturday=Youth’ live stream on June 12, 2021.
Nevertheless, live streaming wasn’t well received by all. “I didn’t want to [live stream] because it was a huge change.” Said Mrs Chloe Ho Ee Ling, 23, singer-songwriter. She sees live streaming as making performances feel unimportant. “If people see that it’s a live stream, they will think it’s recorded, so it’s not exclusive anymore.” She said. Meanwhile, fans of live streaming like Mr Anaqi Rusyaidi, 22, think that the beauty of live streams is that they can be watched on demand.
Photo Credit: Ngee Ann Polytechnic Photography Club, Photo of Mrs Chloe Ho performing in front of a ticketed crowd at the School of Film and Media Studies (FMS) Gives Back 2022 by FMS Society.
“People don’t care how much you know until they know how much you care,” said Mr Alvin. As the ticketed performances return post-pandemic, who knows where the future for performers may lie? With its ability to connect fans and performers like never before, perhaps the future of performing lies within live streaming.
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