‘To be honest, I find the remote concert thing not very satisfying, because you don’t have the other half there with you. In lieu of that infrastructure, artists have been turning to Instagram live concerts to connect with their fans, but Imogen hasn’t joined in just yet. But we need to create the infrastructure.’ You can do little concert from the back of someone’s spaceship, and potentially millions of people could be there and pay you a penny and you can make £100,000, just by being in a virtual space in a game. ‘In the VR space, there’s going to be so much opportunity there. These record labels have said “oh it’s ok, you’ll always make money off the live shows”, but that’s hard to do with a family, but sure – and now that’s not there. There’s lots of positives – the earth is feeling better, and perhaps we can learn from that and we can learn how to do things virtually that don’t lose that kind of magic when two people in a room do meet, and the same for a live show. ‘This could be something that could recur every year, or we could find a vaccine for it, but then there might well be something else. The music industry has been among the hardest hit by the global pandemic, with tour dates and festivals being cancelled, venues shuttering and the idea of crowds cramming into a room or a field in the near future seeming impossible.īut Heap is hoping that this situation will spur progress in areas like VR, which she has been championing and working on for years, and believes could lead to a fairer payout for musicians. Imogen believes VR could change live music (Picture: Christie Goodwin/Redferns) ‘I’d got into this comfortable space – maybe it’s a good thing that I’ve been shaken out of it, and everything is relative of course we can afford food and we’ve got a roof over our heads and my daughter is well, so everything is ok in reality. ‘They’re furloughed and things have been put on hold, which is frustrating because there’s big things coming up. ‘I’m ok, my family is ok, but the people I’ve employed over the past few years for the Creative Passport and the AI project and other bits and bobs, they’re not OK because I can’t pay them,’ the 42-year-old said. As well as her music career, the London-based artist is involved in tech, VR and AI, and organisations including The Creative Passport, which aims to support music makers and was inspired by Imogen’s frustration about how much admin she had to deal with. Hide and Seek’s resurgence has been a welcome boost for Heap during lockdown, when multiple projects of hers have been put on the backburner. ‘And I just feel really lucky, because obviously, it’ll give me a few extra pennies in this dry spell.’ There’s something about that mixture, and about that time, it being in the memes and being intertwined in people’s lives.’ It comes back to The OC, but it’s not just because of The OC, it’s something about the song, obviously. ‘It’s like an enigma all of its own, it just caught a nerve many times. It’s had this unimaginable, crazy life, that song. It has this feeling that it makes me want to go back into the studio, and then also the deep frustration of not being able to get into the studio. Then it went on to Hulu, so whenever it gets on a new service, you see another flurry of tweets and messages. ‘I kept seeing this thing called Normal People, and I was like “What’s that?”, because I don’t have time to watch telly. So it was a total surprise,’ the singer songwriter told .uk. ‘Well, interestingly, I didn’t know it was going to be in the series, because the BBC get blanket licensing to put whatever they want in anything that’s BBC produced – so they didn’t have to ask permission, which is great for the BBC, because that’s one of the banes of a music supervisor’s life.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |