Cornering The Content Market Before It Knows It’s A Market

Back in December 2021 Carnegie Hall launched Carnegie Hall+, an on-demand streaming service. While you would assume their content would focus primarily on events at the venue, you would be correct, but they are also presenting recorded performances of artists that simply performed at Carnegie.

It’s understandable if that seems like an odd area to focus until you look at the way mainstream streaming services approach content. Simply put, having more than your competitors is leverage.

While I don’t think anyone would be wrong for thinking that arts and culture streaming content won’t be duking it out with tentpole content from Disney, that doesn’t mean there won’t be a market. So even though there may be fewer zeros involved, it still boils down to whoever owns the content (or at least the rights) will be in the best position to capitalize on what that can reap.

At the very least, it’s food for thought for anyone who thinks arts and culture content will be an afterthought as streaming services continue to battle for dominance.

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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