Standing in/out

The platformization of Tencent’s TME Live in post-pandemic China

Authors

  • Weida Wang University of Liverpool

DOI:

https://doi.org/10.1558/prbt.19293

Keywords:

platform, Tencent, TME Live, biopolitics, COVID-19, streaming, music industry, China, popular music, digital, technology

Abstract

As the first country to experience the outbreak of COVID-19, China’s music industry reacted quickly to the change of the musical context. On 10 March 2020, China’s biggest music company Tencent Music Entertainment Group announced the launch of its music livestreaming concert brand—TME Live. It is understood that through its online live concerts, TME Live uses multi-scenario, innovative performance and digital audio-visual technology to create a panoramic environment for online musical performances, through which TME Live connects musicians and communities of fans. Through this model, Tencent Music Entertainment Group provides musicians with a full range of services, including customized performance styles and an immersive performing experience. Without the impact of Western dominated social media, China’s online music streaming platforms have developed their own biopolitical logics and characteristics in building up online music community and data connectivity. With the case study of TME Live, this article sets out to investigate how China’s major online music streaming platform survives, transforms and adapts in light of the COVID-19 pandemic.

Author Biography

Weida Wang, University of Liverpool

Dr Weida Wang is a Honorary Research Fellow in the Department of Music at the University of Liverpool. His previous research focused on the Western classical music industry in the context of post-socialist China. Weida is currently working on projects about digital platformization of music, neoliberalism, and biopolitics of cultural production.

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Published

2021-08-28

How to Cite

Wang, W. (2021). Standing in/out: The platformization of Tencent’s TME Live in post-pandemic China. Perfect Beat, 21(1), 56–62. https://doi.org/10.1558/prbt.19293