\n<\/p>\n
I\u2019ve mentioned the ConcertLab online video series<\/a>, in which much care is given to the filming of short individual performances by a wide array of musicians, leaning heavily classical, in a wide array of arrangements, focused largely on chamber ensembles, small groups, and solo players. The consistently modest scale of these videos provides the ConcertLab directors and producers with the opportunity to situate the video viewer near and even within the performance<\/a>.<\/p>\n Cultural phenomena and trends online and off often intersect, and so the Cercle Odyssey traveling series of \u201c360-degree immersive nomad concert installation\u201d<\/a> settings (also mentioned here recently<\/a>) suggests, to me, not just a portable experience vaguely akin to the Sphere in Las Vegas, but also an in-person rendition of the kind of experience that crafted performance videos provide on platforms like YouTube. A question for live event producers is how the intimacy of home viewing \u2014 perhaps best exemplified by NPR\u2019s Tiny Desk series \u2014 can manifest itself in-person.<\/p>\n There\u2019s an interesting intersection of unintended consequences at work in the importance of live music to the livelihood of working musicians. Much of this economic shift has to do with streaming having cut revenue significantly, and that change dovetails with the desire for in-person experiences by people whose life and work increasingly involve staring at two-dimensional screens for much of the day. These twin scenarios \u2014 the need to put on a show that encourages word of mouth, and the desire to see things that don\u2019t lose the intimacy of home viewing \u2014 find their fruition in events like Cercle Odyssey.<\/p>\n