Live isn’t dead, it just needs a WhatsApp group: why gatekeeping is due for a comeback

The live scene is, allegedly, in an uphill battle. Festivals face cancellations, travel costs are rising, and grassroots venues are struggling. Success stories like the ‘Eras’ tour and the Oasis reunion boosted year-on-year stats within the industry, but is this a sign of long-term growth or merely a blip? 

Within this context, success stories pepper the lower levels. You would be hard pressed to find a young person in London who is not attending a day festival this summer. There were at least three large festivals on the weekend of May 23rd, plus club Unfold’s 100th edition, which saw event-goers waiting in the queue for five hours or more. Kneecap, who have been the source of much controversy and some cancellations in recent weeks, announced a same-day set that sold out within 90 seconds in London, and a performance in the Glasgow O2, which sold out in 80 seconds (per the BBC). The definition of a “venue” is expanding, with DJ sets popping up at your local Nando’s, and cafes hosting bands during the day. As with most things, live is not dying; it is just doing something new. 

The TikTok-to-live pipeline is not guaranteed 

Live is still a major part of an artist’s success, but the timing of a gig is a tricky one. Social media can inflate expectations and under-deliver on sales. For every sold-out show, there are stories of TikTok-viral artists who just cannot fill a venue. 

Social is often the top of the audience funnel, but discovery is a fickle thing. For many social media users, music is a part of that experience, but they have no desire or need to pursue that music elsewhere. Nothing kills the joy of a song like hearing the same 30 seconds on repeat for two weeks while doomscrolling TikTok, and then having it follow you into the grocery store. 

MIDiA’s surveys show that fans prioritise early access to the things their favourite artists are offering, be it ticket sales, merch, or the latest track. They also show that fandom is about identity and connection, and a little bit of exclusivity. Social alone is part of the equation, but it is often not enough. 

Is it time to bring back gatekeeping?

What social has done, which is perhaps more subtle, is remove all gatekeeping – something that has traditionally been a cornerstone of ardent fandoms. Exclusivity has always been a premium, be it a favourite underrated restaurant no one else knows about or being the first person to hear exciting news. Social media has removed all degrees of closeness; everyone hears about the same things at the same time. Virality is a fickle thing, and can suffocate a culture just as quickly as it started. Long-term fans no longer feel special if they missed a pre-sale announcement on Instagram by a few minutes; meanwhile all the tickets are bought by people who heard the music for the first time in an instagram ad. As a result, artists who choose to go through more limited channels (and go slower) seem e to grow more sustainably, and keep their crowds intimate no matter how big they become. 

Charli xcx, Chappel Roan, and Sabrina Carpenter are all “slow burn” successes with years in the industry behind them. All three had niche cult followings for that duration, and then broke through to mainstream with a focal album and – crucially – a pre-established fan culture. The shows they do now may be massive, but they are still packed with die-hard fans who know every lyric and dance move. 

Fred Again’s live sets and exclusive London parties have driven social presence, rather than the other way around, with fans wanting a piece of the vibe of his parties, not just his music. Fat Dog, who were the second-biggest act behind Kneecap at Wide Awake in May this year, saw a crowd of thousands chanting lyrics punctuated by hand gestures without being cued; the band has their roots at the Windmill, a local venue near the festival grounds. 

Kneecap is perhaps the most wildcard example. The group released a film last year, which has added critical context and depth to underpin their growing success. They also run an exclusive WhatsApp group for fans, where they share early versions of songs, announce ticket sales, and communicate regularly (they often reference the group chat during gigs, bridging the gap between online and reality). 

The biggest lessons from all of these acts is that success takes time, and filling a venue is not just about the numbers. It is about making sure the people in that venue are the fans who care the most, who can sing every lyric and dance along to the choreography. Doing that means going deeper than blasting mainstream channels; it requires curating gatekept ones. Live is not dying – but for an act to do well, their core audience needs to be somewhere far more personal than TikTok.