Co-creating the future

Cowell & Co-Creation

X-Factor has undeniably revolutionised the way in which the music industry interacts with consumers. The now ubiquitous televised voting format has created the kind of star with whom it seems consumers share some affinity. Leona Lewis and Alexandra Burke in particular garner support not just because of their incredible talent, but because without such voices, they’re nothing exceptional in themselves; they’re normal, just like you. Both are quintessentially girls next door, made good.

Not only is there an emotive bond between star and consumer, with televised talent shows, the consumer is given a sense of ownership over the act; a sense of collective engagement –by expressing opinions through the vote. Even if consumers are not actively voting in the shows, more often than not many will shape opinions during the (often fierce) debate raging in playgrounds, offices and bars across the country. Cowell’s phenomenal success rests simply on investment in the consensus; in his dogmatic assumptions that the public knows best – that the crowd can source their talent, or at least his profit. Of course, this is how it would outwardly seem. In reality, the public has little directional input on the music, the editorial format of the show, or the post series production and transformation of the artist, all of which may ultimately contribute toward future purchase considerations.

This year’s pool of talent was, in comparison to previous years, considerably limited. The fact that one of the highlights of this year’s show was talent deprived stars Jedward, reflects, in my opinion, the nations transference from desiring simple talent to desiring all round entertainment (consider also, Stavros Flatley of Britain’s Got Talent fame). If one were to consider the potential to harness these kind of acts, there may be no better pastoral team than Cowell and Walsh, who between them have thrust Robson & Jerome, Zig & Zag, the Mighty Morphin Power Rangers and Westlife to musical stardom. The consensus however, may be moving against them.

The public has not fallen out of love with the formulaic approach of such talent shows; viewing figure high’s for this year’s X-Factor final were up 5.1 million on last year. Consumers seem to be as much, if not more in love with the talent(less) models of entertainment than ever before.

So how is it then, that we find ourselves in a position where we are contemplating the accession of a seventeen year old rock track to the coveted position of Christmas number one?

Jon Morter’s ‘Rage Against the Machine for Christmas #1’ campaign has attracted well over 750,000 followers on Facebook. Current sales figures are suggesting that the single has a ten point lead over McElderry’s offering (although this is based on downloads alone). As with the Burke/Buckley Hallelujah’off of 2008, the blogosphere has united against the SyCo Empire.

The fact that a relatively small number of consumers can transform a widely anticipated purchase driven contest however, reflects the growing power of the outsider.

Any X-Factor winner has had at least ten weeks of direct and unparalleled market exposure, and one must also consider that the public is now preconditioned to expect that the X-Factor track dominate the Christmas charts, after all Cowell’s creations have topped the Christmas chart for the past four years.

No one therefore, would have anticipated that a song based on racial upheaval in America, from a minority appeal band with known extreme left wing views, would compete – but that’s that magic of the power of the mass. By utilizing social networks and by coming up with an idea that would be popularly transferable into a viral platform, Morter et al have managed to promote their ‘product’ as a viable contender, and have spent almost nothing doing it.

So, is this the beginning of the end for the colossus Cowell? It would be interesting to consider: What if the final act of the noughties was the downfall of the reality-media idiosyncrasies that have so defined the decade? What if it transpired that hit audiences could be bought to their knees by a small but dedicated and collectivised core of web geeks?

This threat to the success of the X-Factor formula lies not in the co-creative concept of the show, but in the perceived arrogance of the brand. If the show were to open up wider opportunities for participation, particularly through additional genres of music, perhaps the protesting crowds could be calmed; the shows popularity is not diverse.

Marginalised audiences, or those who distance themselves from the mainstream will have more input in consumer trends as they adapt new technologies and means of communication, and continue to influence purchasing patterns; be it in protest or not.

I believe it is clear that the Tweenies (with reference to the next half decade, and not the hit BBC children’s programme) will see the widespread embedding of all consumers at the core of product development, not just in the entertainment industries (where there are obvious benefits) but across the board.

This entry was posted on Tuesday, 15 Dec 2009 at 6:53 pm and is filed under Co-creation, Conversation economy, Word of mouth.
You can follow any responses to this entry through the RSS 2.0 feed.
You can leave a response, or trackback from your own site.