La lezione di X Factor

I numeri non li conosco, ma se le classifiche vogliono dire qualche cosa, Itunes ha molto da raccontarci oggi: 7 dei 10 singoli più acquistati sono inediti e cover cantate dai protagonisti di X Factor. Un’occhiata agli album e la musica cambia poco: al 3o posto si colloca l’album dei vincitori dell’edizione passata (gli Aram Quartet), al 4o posto il sofisticato divertissement del più carismatico tra i presentatori di Xfactor (Italian Songbook, di Morgan), al 7o la compilation del programma. Al 56o posto degli album più venduti si colloca ancora, ad ormai un anno dall’uscita del suo disco, Giusy Ferreri, vincitrice (commerciale) della scorsa edizione del talent show.
Nel solo televoto finale di ieri sera, sono stati 65 mila gli sms inviati (ad 1 euro l’uno) alla rai per votare l’artista migliore.
La voce incantevole di Matteo Beccucci ieri sera ha avuto la meglio sui trentini Bastard Sons of Dioniso nella finalissima del programma televisivo che ha avuto, tra gli altri meriti, quelli di riportare la musica in prima serata (share medio 14%, il 60% composto da spettatori under 45), di far girare su rai due pezzi non sempre banali e scontati, e di far circolare un po’ di denaro intorno ad un prodotto per cui avevamo suonato il de profundis in tanti: la musica.

Il tutto targato Sony Music (una di quelle major che davamo per spacciate), Magnolia e Rai. Riuscite ad immaginare niente di più “tradizionale”? Il colosso della discografia, una rete televisiva generalista ed un format di programma (un reality) ben distante dalle long tail e dalla sofisticatezza di molti dei ragionamenti che si son fatti negli ultimi anni. Forse il futuro della musica non sta tutto in questa rivisitazione del modello classico, ma certo è un segnale importante.

Mentre in tanti predicavano un futuro di nicchie, nuovi modelli di business e marketing 2.0 per la musica, Sony ha puntato sulla TV generalista e sulla tradizione intelligente, usando internet come canale di vendita. Di piu’: la TV generalista ha dettato il ritmo delle discussioni in rete. Facebook e blog sono stati l’arena nella quale i partiti pro o contro i diversi cantanti in gara hanno generato una quantità di marketing “derivato” di dimensioni imponenti.

Proprio mentre la discografia si dimostra più viva di quanto pensassimo, fa notizia la condanna a Pirate Bay e la forza con cui riprendono a circolare ipotesi relative ad un controllo più stretto del downloading in rete. Se c’e’ una lezione dietro ad X factor e’ che proprio quegli adolescenti e giovani dediti al download illegale sborsano un bel po’ di denaro per comprare singoli ed album promossi e valorizzati adeguatamente ed inseriti in un progetto di ampio respiro. Chiedere i dati di ogni singolo scaricatore, attentare alla neutralità della rete, imporre dei controlli ai provider mi paiono il modo migliore per frustrare nuovamente quei consumatori che hanno dato credito ad x factor e che potrebbero nuovamente ribellarsi alla volontà di controllo delle major. Un consiglio: meno battaglie legali e più idee brillanti, come X factor e Guitar Hero.

Scritto da vladi | April 20, 2009 | in Digital Worlds, web 2.0, Innovazione, Varie |

10 Responses to “La lezione di X Factor”

  1. Comment by vladi — April 20, 2009 @ 6:20 pm

    Piccola postilla: guitar Hero, che ho appena citato in chiusura del post, e Rock band sono due videogame a tema musicale che stanno rispolverando i cataloghi delle major. In tre anni i due giochi hanno totalizzato vendite per oltre 2.3 miliardi di dollari. Qui un articolo di Wired, qui alcuni numeri interessanti.

  2. Comment by Giorgio Soffiato — April 20, 2009 @ 8:08 pm

    Proprio ieri ascoltando una canzone su youtube (non è un ossimoro lo faccio sempre) mi è apparso un pulsante “acquista questa canzone su itunes” e la cosa mi ha fatto riflettere. Nel marketing della musica le leve che più si sono modificate sono le distribuzione con l’avvento di internet e i modelli di pricing oggi molto più centrati sul mash up musicale in cui ognuno crea la propria compilation a 1 euro alla volta anzichè acquistare le 18 canzoni dell’artista x. Il prodotto musica è trainato dalla comunicazione e sostanzialmente l’idea di palesare le selezioni sembra piacere e la tua osservazione che facebook e co sono ottime casse di risonanza è confermata dall’ultimo fenomeno che circola sul grande FB http://www.facebook.com/video/video.php?v=1131823741635&ref=mf fenomeni come last fm e itunes ci dicono però che la musica è cambiata, mi piacerebbe capire se i numeri assoluti delle major sono ancora gli stessi del passato, non vorrei che nel lungo periodo al termine dell’effetto sorpresa questo si rivelasse solo un colpo di coda a sostegno del passaggio generazionale. Di certo i fenomeni qualcuno deve crearli e non possiamo pensare che la tv sarà in futuro sostituita da seeder virali che diffonderanno video, ben venga quindi la varietà e stiamo a vedere cosa succederà alle major

  3. Comment by stefano — April 21, 2009 @ 7:03 am

    condivido.
    avevamo dato le tv generaliste e le major musicali per spacciate, ed ecco che la classifica di itunes si costruisce ogni settimana sui protagonisti di x factor.

    mi ritrovo nella tua interpretazione: vince chi riesce a incastrare in una formula azzeccata chi riesce a far passare contenuti (vecchi e nuovi) attraverso canali tradizionali (tv) e innovativi (web).

    no revival alla pippo baudo, no ideologia web 2.0.
    mi viene persino il buon umore.
    s.

    ps. morgan è stato un genio quando al momento del voto finale ha chiesto agli italiani (quelli di rai 1, non quelli di mtv o di facebook) di non far tornare matteo alla sua triste vita di impiegato. ho immaginato un sacco di miei coetanei solidali con il tipo che aveva appena cantato una cover degli spandau ballet..

  4. Comment by Massimo — April 21, 2009 @ 5:39 pm

    I numeri sono sicuramente più bassi di un tempo, sia come ascolti tv (il monopolio di ‘Canzonissima’ è chiaramente inarrivabile) che come vendite (oggi bastano poche centinaia di download per entrare in classifica su iTunes), ma chi dava per spacciata la musica ha sbagliato di grosso. In fondo, per molti è ancora una commodity che rappresenta uno status e un’appartenenza sociale ben precisa.
    Come mi disse un discografico una decina d’anni fa, all’inizio dell’era Napster: “una volta in questo business si brindava a champagne, in futuro avremo solo la birra, ma quella l’avremo sempre.”

  5. Comment by marco — April 21, 2009 @ 10:15 pm

    onestamente non capisco tutto questo stracciarsi le vesti per la musica e per la sua crisi. negli altri settori gli scossoni del mix globalizzazione/internet si sono fatti sentire già dalla fine degli anni ‘90. tutto sommato il settore della musica ha sentito con grande ritardo l’accelerazione della nuova economia della conoscenza. e come tutti i settori fortemente tradizionali è stata travolta dal cambiamento (e si è fatta travolgere). se alla fine basta un dj francesco ed un po’ di cultura musicale di morgan a rilanciare le vendite (con una buona gestione delle uscite su itunes) è evidente la sete di innovazione che questo settore ha.

  6. Comment by Giancarlo — April 22, 2009 @ 12:51 am

    Per settimane ho dovuto subire X Factor in famiglia e, perciò, non mi stupiscono più di tanto i numeri commentati da Vladi. Mi sono chiesto più volte cosa tenesse incollati ad un canale Rai due teenager e una signora over 40 con gusti musicali alquanto diversi e che, in verità, negli ultimi tempi avevano manifestato un interesse drammaticamente calante per la TV. Credo che questa trasmissione sia stata vissuta come una storia nella quale ognuno si sentiva a suo modo coinvolto. La musica c’entra, evidentemente, ma fino ad un certo punto. D’altro canto, se si escludono le due ultime puntate, la musica ascoltata non aveva, per definizione, nulla di nuovo. Mi è sembrato, piuttosto, che il punto vero sia stato quello di sentirsi partecipi di un processo di apprendimento e del relativo riconoscimento di un “talento”. Con l’avvento della musica digitale le case discografiche hanno capito che non sarà più la vendita dei dischi a fare la loro fortuna. E internet ha insidiato direttamente il business della TV. Ma si può continuare a guadagnare con l’economia delle esperienze: concerti live e programmi reality. X Factor ha cercato di mettere insieme entrambi.

  7. Comment by Antonio Picerni — April 24, 2009 @ 7:49 pm

    Bel post di Vladi.
    Aggiungo qualche dato in più. Premetto che sono stato un fan sfegatato della trasmissione! Per la prima volta dopo anni (penso da dopo la fine dell’adolescenza) mi sono ritrovato il martedì sera davanti uno schermo a guardare un programma televisivo (ovviamente in streaming dal nuovo sito della Rai).

    I dati Auditel sugli ascolti in realtà non rendono giustizia del successo di X Factor: il programma molto spesso è stato visto sul “secondo” televisore di casa che, ahimè, non viene ancora monitorato dall’Auditel in modo efficiente. A confermare questo dato le cifre che non tornano sugli sms inviati durante il televoto: un numero troppo alto rispetto lo share ufficiale.

    Inoltre, se guardiamo il profilo degli ascoltatori, non solo scopriamo che sono relativamente più giovani, ma hanno anche una grado di scolarizzazione più elevato rispetto quello che solitamente si riscontra per questo genere di format (Aldo Grasso sul Corriere spiega molto bene questo punto).

    Infine, la strategia online della trasmissione è stata perfetta: i video delle performance sono stati praticamente sempre disponibili poche ore dopo la messa in onda. I responsabili della trasmissione hanno lasciato che i singoli utenti diffondessero i video senza alcuna restrizione. La Rete ha fatto il resto: montaggi fatti ad hoc dagli utenti, migliaia di visitatori per ogni video, centinaia di commenti e accese discussioni tra i fan dei diversi cantanti.

    Tutto questo a creato massa, ma da sola non basta. Ovviamente per avere successo nel mercato musicale non basta conquistare il Web, bisogna arrivare altre gli due elementi: le radio e i network televisivi musicali.

    Al contrario di quanto ha scritto Marco, trovo che l’alchimia di X Factor sia piuttosto complessa: non basta un “dj francesco ed un po’ di cultura musicale di morgan a rilanciare le vendite”, anzi chi ha gestito l’operazione X Factor ha pensato bene di coinvolgere le radio (interviste esclusive e il coinvolgimento dei più influenti dj all’interno delle trasmissioni), fino all’organizzazione dei concerti live.

  8. Comment by Silvia Sedita — April 25, 2009 @ 9:35 pm

    Un coinvolgimento a 360° del sistema musica (il “creative industries production system” di Pratt) si è rivelato il successo di X-Factor. Un contenitore che ha permesso di costruire una vetrina interattiva perfettamente gestita dove il consumatore finale ha potuto assistere alle diverse fasi di ideazione (”creation, content origination”), produzione (”manufacture”), distribuzione (”distribution and mass production”), scambio (attraverso la performance live - “exchange”) del prodotto musicale.

    Si aggiunga che il consumatore finale diventa prosumer, perchè seleziona il vincitore, integrandosi con il produttore nella fase di talent scouting. Alla casa discografica non resta che investire sul cavallo vincente, riducendo al minimo i rischi legati all’incertezza della domanda. Ciò cui abbiamo assistito è un fenomeno interessante, che rivela come l’apertura al cliente finale della fase di “exploration” promuove un nuovo modo di condurre il business della musica. Stop quindi al coinvolgimento del consumatore finale solo nella fase di “exploitation”, a valle della catena del valore.

    Si intravede un orientamento nuovo, che spinge a considerare il sistema musica come un ecosistema capace di creare valore grazie alla sua capacità intrinseca di riproduzione…low cost.

    Di necessità virtù dunque. Spazio al contenitore televisivo quando questo permette la sopravvivenza della musica sfruttando gli strumenti che si erano descritti come fautori della sua rovina: internet e il file sharing. Così X-Factor si muove bene tra tradizione e cambiamento, tra web 2.0 e il vetusto mezzo televisivo, raccogliendo davanti al monitor un pubblico vasto e non omogeneo tecnologicamente.

    A chiosa del messaggio di Marco: ben venga un po’ di cultura musicale, di cui Morgan si fa portavoce…che sia un primo indicatore che il pubblico non vuole solo liti e pianti in tv? E se, come Morgan propone, mandassimo in onda solo programmi intelligenti, dato che chi accende la tv per il 90% del tempo spegne il cervello? - come fa dunque a riconoscere la differenza tra cultura e trash??? - …e se questo fosse di buon auspicio per il rilancio anche della cultura musicale classica e operistica??? Meditiamo.

  9. Comment by marco — April 29, 2009 @ 3:10 pm

    vi segnalo un articolo interessante del corriere dove viene evidenziato il successo di percorsi non convenzionali nella vendita di musica.

    http://www.corriere.it/spettacoli/09_aprile_29/rock_usato_sicuro_laffranchi_pluda_dc5f5992-3482-11de-b6cb-00144f02aabc.shtml

  10. Pingback by Shared Items - 29 April 2009 | [4]marketing.biz — November 26, 2009 @ 11:54 am

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