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The ritualistic aspects of attending classical music - perceived as elitist and damaging to the industry - are broken down by live-streaming, says Chris Lian-Lloyd. When you're in your own living space, no one will hiss at you for applauding.

The thing with being a classical musician who also really loves sport – cricket and Australian football in my case – is you tend to be in a sort of minority. In the absence of available metrics, I imagine the engagement rate is probably similar to that of professional athletes who dig classical music in their free time: yes there’s crossover, but you’d struggle to mount an argument that they are intimately connected.

Which could explain why people tend to view the two disciplines as opposites: one is the modern reincarnation of the Ancient Roman Gladiator, the other, the Bard. But as I have previously explored in Limelight Magazine, the two aren’t necessarily that far removed.

The 2020 COVID-19 situation has shut both stadiums and concert halls around the world, and as the initial shock subsides, both industries are now asking questions regarding the short and long-term solutions to the seismic shift. Whilst sport broadcasters have been able to fill the gap with match replays and sportspeople continue training in isolation, musicians have taken to the internet in the form of live-streaming from whatever social media platform and whatever available technology they feel comfortable with.

For musicians, reeling from the sudden loss of their creative outlets and income streams, this is a way to help counter the shock. But whilst live-streaming may prove a band-aid solution to the first aspect, it has yet to provide any stability for the much more pressing second issue.. Keep reading on Limelight magazine

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