Audience Behavior Analysis of Performance Concert - Report Example

Audience behaviour analysis of a performance concert Introduction The report focuses on the analysis of the audience behaviour during a performance concert and identifying the underlying characteristics to analyse them with various marketing efforts. The first section of the report, ‘Research Background’, provides a detailed analysis of the past literature on the subject matter. It focuses on what experts have stated about customer behaviour in a concert or performance. The study of past literature would help in understanding the present case in a better manner. The second section of the report, ‘Description of the event’, provides a detailed description of the concert and my observations during the concert. I provide a through discussion on the behaviour of the audience during the concert in this section. The next section, ‘Analysis and Discussion’, provides a comparison between the theories propagated by experts on the subject matter and the actual behaviour of the audience recorded at the event. This would help in understanding whether the theories are still relevant in case of a concert or not. The last segment of this report, ‘Conclusion’, highlights on the various marketing lessons learnt from this particular concert and how marketers many decide to incorporate the suggestions from this report in their campaigns. Research Background Customer behaviour in a concert or performance is guided due to various factors, chief among them being the social surroundings and the environment wherein the event is taking place (Baker 1987). Further, the interaction between the audience and between the audience and the performer are also few of the important factors to judge the level of customer satisfaction during an event (Minor et al 2004). Various researches in the past have been conducted to focus on the interactions between the audience and how it impacts their behaviour during a performance (Grove and Fisk 1997; Brady and Cronin 2001). However, most experts do believe that the social surroundings where an event is taking place does influence the behaviour of audience to a great extent. Experts also believe that the behaviour of the audience is also dependent on the performance of the performer as well (Theodorakis et al 2001; Zhang et al., 1997). The performance of the singer would also receive appropriate reactions from the audience. In case the performance is not up to the mark, the audience would criticise the performance and may leave the concert hall as well. However, in case the performance is very good, the audience would encourage the singer to sing more songs and give repeated performances. In case of a concert, the performance of an artist forms the very backbone of customer reaction or behaviour. If the performance is not as per the expectations of the audience, they would pan it then and there. Thus, it could be said that in terms of audience behaviour about concert performances, two factors majorly come into play, i.e. the social surrounding where the performance is taking place and the actual performance of the artist. Based on these two factors, the audience gives their reactions, which can be either positive or negative, but would be collective in nature (Butcher et al 2001). Experts also believe that in case of a performance concert, the behaviour of the audience is also driven by variables such as perception and self esteem (Hogg et al 2000). Every member of the audience comes with a perception about the show as well as his own ego or self-esteem to satisfy. In case the perception or the self-esteem is not at par with the show, it might result into negative behaviour in the audience. Description of the event I attended the Love Mi Sammi Cheng Sydney Concert on April 30, 2010 at 8 pm at the Sydney Entertainment Centre. The prices for the tickets included $168, $138, $98 and $78. I had selected the $98 ticket so that I was able to judge the behaviour of the audience from close quarters and also notice the behaviour of the audience sitting at the VIP lounge. The concert was that of a renowned singer and actress, who is known for her famous songs and beautiful dances. The performance area was grand and huge, accentuating the grandeur of the performer. I expected the audience to enjoy themselves during the performance. The performance started at a grand scale and Sammi made a great entrance with the first song. As expected the audience went ballistic and started singing the familiar tune along with her. The entire hall had an enigmatic energy about it, and the audience did not behave as per their ranks or ticket prices. Everyone was enjoying her performance and reacting in a similar manner, be it the person in the back or the one sitting in the lounge. However, I did notice some differences in their reactions. For instance, the VIP audience was somewhat controlled in their behaviour and although cheered the performer, did not go overboard by whistling or clapping too hard like the back benchers. Sammi also interacted with her audience and even asked a man to come on the stage to dance with her at one point of time. This generated the greatest noise and applause in the hall as everyone wanted to share space with Sammi. Through out the performance, the people were cheering her and at the end demanded for some repeat performances as well. This demand came from all the quarters of the concert hall and not just from the back seats. While coming out of the concert hall, everybody was talking about the performance in the same enthusiastic voice and everybody shared the same enthusiasm of enjoying a wonderful performance. Most people were also seen to call up or text their friends on their phones to inform them about the wonderful concert. Some were seen yelling Sammi’s name outside the concert hall, while some quietly discussing her singing and dancing talents. There were varied reactions at the street, with everyone being happy with her performance. Analysis and Discussion The above case study has been a typical concert performance that saw a variety of crowd. However, the crowd behaviour was somewhat similar, with everybody experiencing happiness and enthusiasm at the concert. The concert was a high energy level performance and also saw participation from the audience. The audience behaved in an expected manner by encouraging and applauding the performer constantly. The pricing difference in the tickets did not have any influence on the energy level or reactions of the audience. In fact, it was seen that the entire audience was collective in their reactions and enjoyed the performance from the beginning to the end. Although, there was variance in their level of enthusiasm with many being vocal with their appreciation, while others preferring to only applaud. However, it can not be denied that overall the entire audience liked the performance of the artist and joined in applauding and appreciating her. Most experts believe that the social surroundings of the location where an event is taking place impact to a greater extent on the behaviour of the audience (Grove and Fisk 1997; Brady and Cronin 2001). However, this particular event takes place within a concert hall, where mostly formal occasions take place. However, this time around it was a song and dance concert and therefore, the atmosphere were very festive. Thus, the behaviour pattern of a typical concert crowd was not applicable here as everybody was enjoying the informal entertainment show. As per experts, in case of a performance-based concert, the performance of the artist is the major basis for the success of the concert. If the performance is good, it would elucidate equitable reaction from the audience. In this case as well, the performance was wonderful, as the audience kept on encouraging the artist as well as asking for repeated performances. Further, the entire audience was collective in its response. The response was not based on the pricing of the tickets i.e. the VIP crowd responded in the same manner as the back benchers, although the intensity might be a little low. The crowd joined hands to appreciate the artist at all levels of the show and even joined in singing the chorus. The back benchers might have showed more enthusiasm than the VIP crowd while cheering the artist, however, there was no inhibition in the VIP audience as well to encourage the performer on the stage. The reactions of the audience always remain collective, whether positive or negative (Butcher et al 2001). In this case as well, it was seen that the reaction of the audience was collective and positive. Everybody reacted in the similar fashion and expressed their happiness and enthusiasm about the show. This establishes the group behaviour during such concerts of high energy levels. It is stated that the success of a concert is also dependent on the fulfilling of the perception and self-esteem of the audience (Hox et al 2000). I also went to this concert with the perception that as it was a concert of a famous singer, it should be of good quality. Further, my self-esteem also needed satisfaction as I was the only one who was lucky enough to buy a ticket for the concert among my friends. Therefore, the expectation level riding on this concert was tremendous and I was very happy when both my perception as well as self-esteem was satisfied through the wonderful performance. I believe, the same was the case with most of the audience members, as it could be predicted from their body language. Many had the same anxious behaviour at the start of the concert and were similar in their excitement at the end. Therefore, it could be said that their perception about the show and their self-esteem were both satisfied by the performer. Conclusion The report found that in order to make a concert a success, it is important to focus on the following key areas: Concert environment: The concert or the performance should take place in a grand manner to enhance the grandeur of the performer. As seen in this case, the audience was awestruck by the magnificence of stage on which the artist performed. This also helps in generating positive buzz and reaction about the concert right at the beginning. Therefore, it can be said that the packaging of the entire product needs to be very attractive to grab the attention of the target audience (Brady et al 2005). Performance of the artist: The performance of the artist forms the very backbone of the success of the concert. The reaction of the audience is solely based on the performance of the artist. Therefore, it is very essential that the product, which in this case is the performer, should be of top quality, as the customers only look for value-for-their money and a greater return-on-their-investment (ROI) (Donovan and Rossiter 1982). Generating audience enthusiasm: The performer should also interact with the audience to make the performance lively and dynamic in nature. This would also ensure in generating audience enthusiasm and their energy level would be constant throughout the performance. It is the duty of the performer to ensure that the audience is not bored at any time of the event. Similarly, in case of a product, the customers should be given enough anecdotes about the product which would keep them intrigued about it. Also, marketers need to adopt policies such as interactive marketing campaigns and periodic contests to keep the interest level about the product alive in the customers (Brady et al 2005). Perception management: The above case study focused in detail on how the perception about the performer was the major criteria for the success of the concert. Therefore, it is important for marketers to manage the perception about a brand and product. In case of a wrong or negative perception, the product might suffer heavy losses, as most consumer perceptions are crowd driven and once the perception becomes negative, it would be very difficult for the marketer to change the brand perception (Dube and Menon 2000). Reference: Baker, J. 1987, “The role of the environment in marketing services: The consumer perspective,” In J.A. Czepiel, C.A. Congram., J. Shanahan. (Eds.), The services challenge: Integrating for Competitive Advantage American Marketing Association, Chicago, IL, 79-84. Brady, M. K., Knight, G. A., Cronin, J. J., Tomas, G., Hult, M., Keillor, B. D. 2005, “Removing the contextual lens: A multinational, multi-setting comparison of service evaluation models”, Journal of Retailing 81(3), 215-230. Brady, M.K. and Cronin, J.J. 2001, “Some new thoughts on conceptualizing perceived service quality: A hierarchical approach”, Journal of Marketing 65(3), 34-49. Butcher, K., Sparks, B., O'Callaghan, F. 2001, “Evaluative and relational influences on service loyalty”, International Journal of Service Industry Management, 12(4), 310-327. Donovan, R.J., Rossiter, J.R.1982. “Store atmosphere: An environmental psychology approach”, Journal of Retailing 58(1), 34-57. Dube, L., Menon, K. 2000, “Multiple roles of consumption emotions in post-purchase satisfaction with extended service transactions,” International Journal of Service Industry Management 11(3), 287-304. Grove, S. J. and Fisk, R. P. 1997, “The impact of other customers on service experiences: A critical incident examination of "getting along", Journal of Retailing 73(1), 63-85. Hogg, M. K., Cox, A. J., and Keeling, K., 2000, “The impact of self-monitoring on image congruence and product/brand evaluation,” European Journal of Marketing 34(5/6), 641-666. Minor, M. S., Wagner, T., Brewerton, F. J., Hausman, A. 2004, “Rock on! An elementary model of customer satisfaction with musical performances,” Journal of Services Marketing, 18(1), 7-18. Theodorakis, N., Kambitsis, C., Laios, A., Koustelios, A. 2001, “Relationship between measures of service quality and satisfaction of spectators in professional sports”, Managing Service Quality 11(6), 431-438. Zhang, J. J., Pease, D. G., Smith, D. W., Lee, J. T., Lam, E. T. C., Jambor, E. A. 1997, “Factors affecting the decision making of spectators to attend minor league hockey games”, International Sports Journal 1(1), 39-49. Read More

Thus, it could be said that in terms of audience behaviour about concert performances, two factors majorly come into play, i.e. the social surrounding where the performance is taking place and the actual performance of the artist. Based on these two factors, the audience gives their reactions, which can be either positive or negative, but would be collective in nature (Butcher et al 2001). Experts also believe that in case of a performance concert, the behaviour of the audience is also driven by variables such as perception and self esteem (Hogg et al 2000).

Every member of the audience comes with a perception about the show as well as his own ego or self-esteem to satisfy. In case the perception or the self-esteem is not at par with the show, it might result into negative behaviour in the audience. Description of the event I attended the Love Mi Sammi Cheng Sydney Concert on April 30, 2010 at 8 pm at the Sydney Entertainment Centre. The prices for the tickets included $168, $138, $98 and $78. I had selected the $98 ticket so that I was able to judge the behaviour of the audience from close quarters and also notice the behaviour of the audience sitting at the VIP lounge.

The concert was that of a renowned singer and actress, who is known for her famous songs and beautiful dances. The performance area was grand and huge, accentuating the grandeur of the performer. I expected the audience to enjoy themselves during the performance. The performance started at a grand scale and Sammi made a great entrance with the first song. As expected the audience went ballistic and started singing the familiar tune along with her. The entire hall had an enigmatic energy about it, and the audience did not behave as per their ranks or ticket prices.

Everyone was enjoying her performance and reacting in a similar manner, be it the person in the back or the one sitting in the lounge. However, I did notice some differences in their reactions. For instance, the VIP audience was somewhat controlled in their behaviour and although cheered the performer, did not go overboard by whistling or clapping too hard like the back benchers. Sammi also interacted with her audience and even asked a man to come on the stage to dance with her at one point of time.

This generated the greatest noise and applause in the hall as everyone wanted to share space with Sammi. Through out the performance, the people were cheering her and at the end demanded for some repeat performances as well. This demand came from all the quarters of the concert hall and not just from the back seats. While coming out of the concert hall, everybody was talking about the performance in the same enthusiastic voice and everybody shared the same enthusiasm of enjoying a wonderful performance.

Most people were also seen to call up or text their friends on their phones to inform them about the wonderful concert. Some were seen yelling Sammi’s name outside the concert hall, while some quietly discussing her singing and dancing talents. There were varied reactions at the street, with everyone being happy with her performance. Analysis and Discussion The above case study has been a typical concert performance that saw a variety of crowd. However, the crowd behaviour was somewhat similar, with everybody experiencing happiness and enthusiasm at the concert.

The concert was a high energy level performance and also saw participation from the audience. The audience behaved in an expected manner by encouraging and applauding the performer constantly. The pricing difference in the tickets did not have any influence on the energy level or reactions of the audience. In fact, it was seen that the entire audience was collective in their reactions and enjoyed the performance from the beginning to the end. Although, there was variance in their level of enthusiasm with many being vocal with their appreciation, while others preferring to only applaud.

However, it can not be denied that overall the entire audience liked the performance of the artist and joined in applauding and appreciating her.

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