This weekend is one of the most important electronic music festivals in the world: the Tomorrowland. To counter the health crisis, this year's edition is 100% digital. Extraordinary technical means have been put in place for a result that promises to be breathtaking. On this occasion, we interviewed Sarah Kazaroff from the music promotion agency Dooweet, in charge of French press relations for Tomorrowland.
"An incredible device"
So that le festival remains magical despite the distance, cutting-edge technology is in place. Interactive 3D sets, special effects, fireworks, 38 cameras, eight different stages of 16 km²: the festival collaborates with the best studios in video games, audiovisual capture and creation. This gives both fantastic and realistic renderings.
Everything is also done so that the spectator is immersed in the festival. Thus, the organizers have reconstituted a false audience in order to transcribe the atmosphere. Likewise, festival-goers can virtually stroll around 3D Pāpiliōnem Island. This is made up of many places (beach, forest, mountain) and gives access to stages on which a sixty artists will perform. Even if their performances have actually already been shot in the studio in order to be embedded in the scenography.
Finally, with games and webinars, this digital edition offers lots of new concepts to delight Tomorrowland fans.
Digital concerts: yes, but ...
With more than a million people who follow the festival assiduously, the 2020 edition already promises to be a success. Especially since the digital version eliminates geographic constraints. Anyone can buy their place without wondering how they will get there. Thanks to Dooweet's work, the event is also widely covered in the French press, it interests and makes people talk about it. Tomorrowland 2020 is therefore a formula that works very well.
However, Sarah Kazaroff tells us that this digital edition represents only an alternative due to the health context. She is there to retain fans. But, starting next year, the organizers will be delighted to return to the physical format.
“Even if what they have done this year is very beautiful and spectacular, there is nothing better than the physical: dance, share, meet people”. Getting together still matters a lot, so E-events, although they have many advantages, cannot replace the human aspect of a "real" event. The atmosphere is not the same and the proximity to the artists becomes non-existent.
What future for music promotion?
Thus, digital concerts should not overshadow physical events for a long time, unless the context requires. However, the music sector suffers mutations. For Sarah Kazaroff, “digital is taking a preponderant place”.
Concerts in video games, explosion in the use of music streaming platforms: confinement has accentuated the share of digital in the world of music. This is why Dooweet is turning to these new services to promote their customers. Place the singers in the correct playlist or even canvass influencers suitable are part of the agency's skills. This allows it to be today one of the most influential in the field of music promotion.
However, Sarah Kazaroff tempers the role of digital. Indeed, radio or albums physical are not obsolete. Everything is based on knowing the target audience and in particular the age group to which it belongs. Those over 30 remain very attached to CDs and still listen to the radio widely. We are therefore in a period where old and new models coexist.
Discover the work of Dooweet's music press officers here.