Eric Tan š Tokyo Game Show
Music & Marketing Consultancy // ex-Riot Games, Sony Music, EA // Former Creative Director of K/DA Seraphine
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Why aren't more game publishers embracing live events?Riot Games just pulled off a spectacle that rivals the Super Bowl halftime show. The VCT Championships 2024 opening ceremony wasnāt just an event; it was a masterclass in engaging a global audience.Imagine the planning that goes into curating a lineup like this:- Madge, an emerging artist with 11k Instagram followers, yet already catching the eyes of major players.- APG's Odetari, an American singer-songwriter and producer with 614k followers, bringing his Houston flavor to the world stage.- Lay Bankz, a powerhouse vocalist from Philadelphia with 1 million IG followers, making waves beyond her hometown.- Mark Tuan, an American rapper and former GOT7 member, boasting 14 million IG followers, and a fanbase that spans continents.- Kiss of Life, a South Korean girl group with 2.8 million followers under S2 Entertainment, representing the K-pop wave that continues to dominate globally.This lineup didnāt just happen. It was a calculated move by Riot Games to serve its fans where it matters mostāin the regions that are culturally significant and commercially strategic.So, why arenāt other major game publishers following suit? Hereās the harsh truth:1. Risk aversion: Many publishers are afraid of the investment, both in terms of money and creativity.2. Lack of audience insight: Theyāre missing the mark on what their global audience truly wants.3. Outdated strategies: Sticking to tried-and-true methods might seem safe, but itās keeping them out of the limelight.Riot Games is setting a new standard, and itās time for others to catch up. If youāre in the gaming industry, ask yourself: Whatās holding us back from delivering this kind of experience?Whatās your take? Share a question or insight below.
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Ron S.
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This is a great idea, especially if the artists involved were compensated fairly for their time, talent, and performance. Itās essential that their contribution is recognized with a decent fee rather than being offered just "exposure" in return.
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Jesse Wylde
Sr. Director, Artist & Business Development
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major
Eric Lux
Director of Operations - Senior Agile Coach - CEO - COO
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Just wow! š¤ šŗ šÆ š¶ š¤
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Anurag Rao
CEO-Chain Reactor | Synch and Licensing l Co Founder- MARD Initiative (Men Against Rape and Discrimination) | Ex Believe l Ex Canvas Talent l Ex MTV l Musician | Founder Farhan live & Ayushmann Bhava l Ai enthusiast
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Nice session in the day Tan!
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Eric Tan š Tokyo Game Show
Music & Marketing Consultancy // ex-Riot Games, Sony Music, EA // Former Creative Director of K/DA Seraphine
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Cheers to Open PTO! š
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Eric Tan š Tokyo Game Show
Music & Marketing Consultancy // ex-Riot Games, Sony Music, EA // Former Creative Director of K/DA Seraphine
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Face-to-Face Always Beats a Zoom Call:Just wrapped up an incredible trip to Cologne, Germany, and Iām reflecting on the key takeaways as I make my way back to Asia. Itās not just about the events or the beautiful city; itās about the people, the energy, and the ideas that we exchanged.First and foremost, nothing compares to in-person connections. In our digital age, Zoom calls have their place, but meeting friends and contacts face-to-face is irreplaceable. Whether I was catching up with old friends or meeting new ones from companies like Appcharge, Miniclip, Level Infinite, Legendary Entertainment, Tilting Point, Saltwater Games, ITV, Wooga, Yodo1 Games, Monstercat, Pixelmon, AppsFlyer, the real magic happened in those unplanned momentsāwhen a shared laugh or a raised eyebrow communicated more than words ever could. Itās in these interactions where relationships are deepened and new ideas spark.Second, Gamescomās scale and energy were unmatched. Iāve been to my share of conferences, but Gamescom took things to a whole new level. Walking through 11 massive halls filled with passionate fans, cosplayers, and industry pros, the atmosphere was electric. The enthusiasm and dedication of the gaming community are always inspiring, but experiencing it firsthand is a reminder of why we do what we do.Lastly, bridging the worlds of music and gaming has never felt more relevant. Discussions with partners about using music to combat market declines, refresh old content, and breathe new life into marketing strategies were intellectually stimulating. The synergy between these two industries offers endless possibilities, and Iām excited to see where our collaborations will lead.As I head to the Tokyo Game Show, Iām eager to continue these conversations and explore new opportunities.Whatās your biggest takeaway from in-person events? Drop your thoughts or questions in the commentsāletās discuss!
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Eric Tan š Tokyo Game Show
Music & Marketing Consultancy // ex-Riot Games, Sony Music, EA // Former Creative Director of K/DA Seraphine
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The future of music streaming is Asia:In South Korea, while YouTube Music has climbed to the pole position, Melon (owned by Kakao Entertainment) and Genie(owned by KT, CJ ENM ENTERTAINMENT DIV. and LG Uplus) still commands 46.5% of the market , while Spotify and Apple Music is facing stiff competition from these local giants.Meanwhile, in Japan, the scene is different but equally dynamic. Major players like Spotify, Apple Music, Amazon Music Unlimited, and LINE Music dominate, with YouTube Music trailing behindāstill growing but not yet a powerhouse. Japanās market is set to see steady growth in paying subscribers, driven by an ongoing shift toward digital consumption.So, what does this all mean?Local platforms still rule in Asia. Despite the global reach of Spotify and Apple Music, platforms like Melon and LINE Music continue to dominate in their home markets, offering tailored experiences that resonate with local audiences.Rapid growth is on the horizon. In Korea, the compound annual growth rate (CAGR) for paying subscribers could hit 8-10% over the next few years, while Japan is expected to grow at 6-8%. The digital music revolution in Asia is far from over.Global giants need to adapt or lose out. If platforms like Spotify and Apple Music want to capture these markets, theyāll need to offer more than just a global playlistātheyāll need to localize and innovate.Iāll be diving into these trends and more at Tokyo Game Show next month. Want to talk about how you can stay ahead in this rapidly changing market? Letās meet up. Drop me a message, and letās make it happen.š® #TokyoGameShow #MusicStreaming #AsiaMarket #DigitalInnovation
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Eric Tan š Tokyo Game Show
Music & Marketing Consultancy // ex-Riot Games, Sony Music, EA // Former Creative Director of K/DA Seraphine
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The Philippines is the next big music hub.Why? Itās a combination of digital growth, rising talent, and cultural reach thatās turning the country into a goldmine for record labels. Hereās the proof:Digital Dominance: With over 74 million internet users in the Philippines and a social media penetration rate of 80%, platforms like Spotify, YouTube, and TikTok are booming. This digital explosion has turned music streaming into a daily habit, making it a prime market for record labels looking to expand their reach.Rising Stars: The Philippines is producing world-class talent. SB19's "Gento" music video racked up over 10 million views on YouTube in just a few weeks. Meanwhile, Ben&Benās album was the most-streamed Filipino artist album on Spotify in 2023. Record labels are eyeing these rising stars, knowing their potential to break into global markets. Sony Music Entertainment Roslyn Reyes PinedaCultural Reach: With a diaspora of over 10 million Filipinos living abroad, the demand for Filipino music isnāt just localāitās global. For example, in 2023, streams of OPM (Original Pilipino Music) on Spotify increased by 35% outside the Philippines, signaling the worldwide appeal of Filipino artists.The Philippines is no longer just a local marketāit's a global player in the music industry.Whatās your take on the future of Filipino music? Drop a question or share your thoughts in the comments!
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Eric Tan š Tokyo Game Show
Music & Marketing Consultancy // ex-Riot Games, Sony Music, EA // Former Creative Director of K/DA Seraphine
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Music isnāt just sound; itās the heartbeat of engagement:Think about the last time you were truly captivated by a game or a vTuber stream. Chances are, music played a big role in that experience. Itās not just background noiseāitās the secret sauce that pulls you in and keeps you hooked.At Riot Games, music is integral to the storytelling. Whether itās the pulse-pounding beats of a āLeague of Legendsā championship or the soulful melodies of the gameās anthems, music amplifies emotions, driving a deeper connection between players and the game world. The result? An immersive experience thatās hard to forget.But itās not just games that benefit from this. In the vTuber industry, companies like COVER (Hololive), VShojo and Nijisanji use music to define their talentsā identities. Each song, each performance, becomes a signatureāan audio logo that fans immediately recognize. This isnāt just branding; itās how these companies rise above market saturation. When everyoneās vying for attention, a distinct musical identity can be the difference between blending in and standing out.And letās not forget about community. Music has a unique ability to bring people together. Riot Games knows this and has mastered the art of creating music-driven events that foster social interaction. Meanwhile, vTubers leverage music performances to build a loyal, engaged fanbaseāturning casual viewers into passionate advocates.Hereās why music is a game-changer:- It deepens emotional connections and creates unforgettable experiences.- It helps companies rise above saturation in their markets.- It fosters community and turns audiences into active participants.So, whatās your take? How have you seen music used effectively to engage audiences? Drop a comment with your thoughts!
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