{"id":5471,"date":"2017-03-22T09:00:32","date_gmt":"2017-03-22T13:00:32","guid":{"rendered":"http:\/\/worldscreen.com\/tvformats\/t\/"},"modified":"2017-04-03T09:39:13","modified_gmt":"2017-04-03T13:39:13","slug":"tune-up","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/tune-up\/","title":{"rendered":"Tune Up"},"content":{"rendered":"

\"Singing-Competitions\"Joanna Stephens looks at the world of singing talent formats, exploring new spins on the genre and its continuing success.<\/em><\/p>\n

The global format industry\u2019s search for a shiny new prime-time entertainment format is almost a prime-time entertainment format in itself, complete with hopeful candidates, dreams of superstardom and ruthless elimination. In fact, many in the industry question whether \u201cthe next big thing\u201d even exists in an increasingly fragmented marketplace, with so many broadcasters and platforms targeting so many different audiences.<\/p>\n

Others, however, believe that a breakout format is still possible given the right celestial alignment of elements, creativity and luck. And some believe that the solution to the prime-time entertainment challenge may well lie in singing shows, with their triple threat of track record, dramatic potential and emotional traction. To see that singing is a truly universal draw, one need only consider Talpa Media\u2019s juggernaut The Voice<\/em>\u2014the last game-changing talent format\u2014which has clocked up 65 local productions, 500 million viewers in 180-plus territories and 55 million Facebook followers since 2010.<\/p>\n

SING YOUR HEART OUT<\/strong>
\n\u201cWhen you look back, you realize that singing formats have always been among the strongest performers in prime-time entertainment because of the emotional connection and involvement they generate in audiences,\u201d says Avi Armoza, founder and CEO of Armoza Formats. \u201cWe believe that singing is not something that\u2019s going to disappear from prime time. The question is how you tell the story of a singing competition differently and in a more exciting and relevant way, coming in with a strong, fresh and unique patent, while learning from the knowledge that\u2019s been accumulated from previously successful shows.\u201d<\/p>\n

So what is Talpa Media, the current titleholder in the singing format stakes, intending to do as an encore to The Voice<\/em>, surely a tough act to follow by any standards? \u201cWe\u2019re constantly working on creating new, long-lasting brands that can travel the world,\u201d says Maarten Meijs, managing director of Talpa Global, the Dutch creative heavyweight\u2019s distribution arm. He points to Talpa\u2019s dedicated creative unit, which is tasked with developing \u201cunique concepts ready for global rollout.\u201d In the singing-contest genre, recent shows down the pipeline have included the celebrity-driven It Takes 2<\/em>, now on air in Germany and heading into its second season in the Netherlands; and The Next Boy\/Girl Band<\/em>, which launched at MIPCOM last October and has since sold into multiple territories across Asia.<\/p>\n

A VOICE THAT LASTS<\/strong>
\nThe trick, Meijs suggests, is to view entertainment formats as brands rather than single shows or concepts. The Voice<\/em> is a prime example. In addition to the \u201cmothership\u201d property, its brand extensions include the spin-off show The Voice Kids<\/em>, The Voice of the Ocean<\/em> with Princess Cruises, online gaming and merchandise. This not only results in a richer commercial proposition for Talpa\u2019s broadcast and production partners but also helps to keep the core format fresh and surprising, which is pivotal to the longevity of any entertainment show.<\/p>\n

\u201cAnd with our unique apps for The Voice<\/em> and The Voice Kids<\/em>, we extend the experience beyond the television screen,\u201d Meijs adds. \u201cWe believe formats should connect with viewers across multiple platforms and touch points. In today\u2019s television landscape, mindless entertainment isn\u2019t enough\u2014viewers want a content experience that they truly feel a part of.\u201d<\/p>\n

Armoza Formats is heading to MIPTV with its own spin on the genre with The Final Four<\/em>. The format starts where most singing competitions end, with the selection of four star-quality finalists, selected by a trio of music professionals. The twist is that the show\u2019s chosen finalists will be challenged in every episode by talented hopefuls seeking to win a place among \u201cthe final four\u201d and enjoy the superstar lifestyle that goes with it. Anyone can apply to become a contestant by sending a clip via a dedicated app, but only the best will be chosen by the judges to challenge the finalists. Whether or not they succeed is down to the audience\u2019s vote.<\/p>\n

\u201cThe most successful part of many singing competitions are the auditions,\u201d Armoza says. \u201cAudiences love the drama, the emotions and the Cinderella stories inherent in this stage. The stories we tell throughout the entire season of The Final Four<\/em> make the auditions the heart of the show.\u201d<\/p>\n

For Keren Shahar, Keshet International\u2019s COO and president of distribution, authenticity has become an important part of the mix as the singing-competition genre has matured. \u201cNo one likes to feel duped by something they\u2019re watching,\u201d she observes. \u201cThe unveiling of true, world-class talent should be the standard. If you put someone through auditions because they are enjoyable to watch but can\u2019t sing, you stand to lose the respect and loyalty of the audience.\u201d<\/p>\n

The temptation to over-construct is perhaps understandable, given the evolution of the singing-format genre. Back in the early 2000s, when the likes of Idols<\/em> and Popstars<\/em> first emerged as cultural phenomena, the idea of turning wannabes into overnight superstars was revolutionary in itself. While some of the early contestants did go on to achieve success\u2014Will Young and Leona Lewis among them\u2014many more faded back into anonymity. With shows increasingly failing to deliver on their promise, the novelty wore off, and producers began to look for other ways to engage audiences. Chronicling the \u201cjourney\u201d along the road to fame and fortune offered a solution.<\/p>\n

\u201cThe focus shifted to the stories behind the contestants\u2014stories that were often sensationalized to be more emotive to viewers,\u201d Shahar says. \u201cPeople with no singing talent were cast for entertainment or sheer amusement purposes.\u201d The results were often toe-curlingly embarrassing, if not downright cruel.<\/p>\n

Talpa\u2019s Meijs echoes the view of many when he says that one of the fundamental differences between the first generation of singing formats and today\u2019s hit shows is the focus on positivity. \u201cSinging competitions remain as popular as ever due to the timeless and universal attraction of music,\u201d he says. \u201cBut there\u2019s little interest today in content that makes fun of contestants\u2014and nor is that something we as a company feel comfortable with. Rather, the focus should be on actual talent, as it is in The Voice<\/em> and The Voice Kids<\/em>.\u201d<\/p>\n

Shahar credits The Voice<\/em> with the next step-change in the singing format\u2019s evolution. \u201cThe blind auditions turned the spotlight from the contestants to the mentors. This was a big novelty and it also brought back more credibility. Only good talent could take part, and they were celebrated, treated respectfully and given constructive feedback.\u201d<\/p>\n

STAYING AUTHENTIC<\/strong>
\nIn 2013, Keshet launched Rising Star<\/em>, billed as the first truly interactive talent show, and changed the game again by handing the power to the audience. \u201cIt not only gave viewers a tone that was palatable to them, but it gave them control of its narrative,\u201d Shahar says. \u201cIt also became the antidote to those early versions that lacked authenticity. With Rising Star<\/em>, the genre had evolved to deliver entertainment that mirrored real-world empathy and the desire to share in something uplifting, not brutal.\u201d<\/p>\n

Now, under a co-development partnership, Keshet International and Argentina\u2019s Telefe have unleashed their next challenger, Heart Beats<\/em>, onto the market. Shahar describes the format as \u201ca hybrid of dating, talent and reality. The romance that blossoms on competitive reality shows is nothing new. Heart Beats<\/em> formalizes this by-product and makes it a core part of the show. The question is: if a couple performs brilliantly together, will they have the same chemistry offstage?\u201d<\/p>\n

As with all today\u2019s big entertainment shows, interactivity is bred into the bones of Heart Beats<\/em>, with viewers invited to both communicate with contestants and reshuffle the onscreen partnerships. Shahar makes the point that, with singing formats, the power to affect the outcome not only draws viewers into the show but also helps build a fan base for a new artist. That said, she also believes it\u2019s time to rethink the way viewers are asked to vote: \u201cCan we still ask them to text in when they will soon be paying for their coffee by retina scan?\u201d<\/p>\n

TECH-TONIC SHIFTS<\/strong>
\nAnother way in which technology has impacted singing formats is its disruption of the music industry, which has changed beyond recognition in the last 20 years. Rather than consume music via transferrable digital files or downloads, we now stream it\u2014and in ever-growing numbers. That helps to explain the buzz around The Stream<\/em>, Nordic World\u2019s latest contribution to the singing oeuvre and arguably the most authentic reflection yet of the music industry\u2019s new reality. The format, developed by Little Hill and Monster Format for TV2 Norway, launched internationally at MIPCOM last October and was instantly bagged by NBC, where a U.S. version is currently in development.<\/p>\n

The show\u2019s premise is that hopefuls upload clips of themselves performing to The Stream<\/em>\u2019s website. The public comments on, shares and streams the videos, with the 100 most-streamed contestants then asked to perform a showcase in front of top music industry scouts. The best go on to compete in a weekly live show, with the winner being the artist who generates the most streams, as well as the most votes during the show.<\/p>\n

The Stream<\/em>\u2019s strength, according to Nordic World CEO Espen Huseby, is its natural fusion of social media, streaming technology and television. \u201cEverybody\u2019s been searching for a show that has digital and interactivity baked into its essence,\u201d he says. \u201cThe Stream <\/em>is the first singing format that\u2019s cracked that code and is capable of attracting and holding both online and linear TV audiences. And it does it effortlessly and organically, unlike many other digital format propositions, which are old-fashioned TV shows with a bit of interactive window dressing.\u201d<\/p>\n

PUBLIC OPINION<\/strong>
\nHuseby notes that some of the biggest music stars on the planet were discovered online, talent-scouted by the public rather than label execs. What\u2019s more, that public tends to consist of the elusive, cord-cutting youth demographic. \u201cMany young people don\u2019t watch traditional television and never have,\u201d he observes. \u201cSo I don\u2019t understand why everybody\u2019s trying to catch young viewers with traditional TV shows. It\u2019s never going to happen. If you want young people to watch your show, you have to go after them where they are\u2014and that\u2019s on YouTube and the SVOD streaming services. Once you\u2019ve caught them digitally, you have a chance to persuade them over to traditional TV, but only if your show resonates with their reality.\u201d<\/p>\n

He also points to the YouTube generation\u2019s short attention span. \u201cEven a two-minute video can be too long if it doesn\u2019t instantly grab them. With singing formats, that means thinking smaller, faster and catchier in the earlier stages of the game play. Again, once you\u2019ve hooked them in, you have a chance of keeping them for a longer period. It\u2019s a bit like catching fish.\u201d<\/p>\n

Some of the world\u2019s largest record companies backed TV2\u2019s debut version of The Stream<\/em>, with A&R execs from Universal, Sony and Warner Music appearing on its panel of judges. This touches on another key factor: the importance of music-industry partners when launching a singing format. Meijs says this has always been a central consideration for Talpa. \u201cThe credibility of our shows extends past the shows themselves. A singing competition can only be truly successful if the talent subsequently embarks on the road to success they\u2019ve always dreamed of.\u201d Without professional help, their chances of forging a legitimate music career are slim.<\/p>\n

Umay Ayaz, the head of acquisitions at Turkish format power\u00adhouse Global Agency, makes another point: along with opening the right professional doors, a strong music-business partner can also guide talent through complex copyright, royalty and licensing issues.<\/p>\n

Global Agency\u2019s most successful singing contest to date is Keep Your Light Shining<\/em>, an elimination concept in which contestants have less than 30 seconds to impress the studio audience and celebrity judges with their vocal prowess. Since it launched at MIPCOM 2013, the format has been licensed and optioned in several territories, including Australia, China and Germany, has been piloted on CBS and is currently on air on FOX Turkey in a prime-time slot.<\/p>\n

LEGENDS IN THE MAKING<\/strong>
\nGlobal Agency is hoping that its follow-up singing format, The Legend<\/em>, will do even better. \u201cWe really trust in this show,\u201d Ayaz says. \u201cIn most TV talent formats, the audience or judges decide the fate of performers. But The Legend<\/em> turns that on its head by giving contestants control of their own destinies. The show takes the best of the best and challenges them to push their own limits. We\u2019re not just looking for a great singer, but to create a genuine singing legend.\u201d<\/p>\n

This reflects Ayaz\u2019s contention that today\u2019s singing formats are no longer simple contests of vocal supremacy, but \u201cstrategy games\u201d in which a great set of pipes is only the start. \u201cIn order to make a long-running show, both the production team and the contestants have to work hard to keep surprising the audience,\u201d she says. Spectacular costumes, decor and performance skills are obvious devices, but backstage politics and strategy\u2014the art of choosing the right mentor, correctly predicting the next round, exploiting disharmony among the judges\u2014are also effective ways to ramp up the dramatic tension.<\/p>\n

Ayaz also believes that singing formats stand or fall on the caliber of their judges and host, who should be selected not only on talent and credentials but also their suitability to broadcaster, budget, time slot and target audience.<\/p>\n

\u201cThe people sitting there judging the contestants should have real qualifications,\u201d she adds. \u201cThey need to be experienced and mature enough to criticize performances with authority. Otherwise, viewers will soon lose respect for their decisions\u2014and, by extension, the show.\u201d<\/p>\n

This view chimes with Jinwoo Hwang, the head of global content development at Korean powerhouse CJ E&M. \u201cPeople will not get excited if an immature boy-band member appears and judges contestants. It\u2019s always important for the judge to possess credibility.\u201d Hwang references CJ E&M\u2019s format Superstar K<\/em>, which went on to be a big hit for Hubei Satellite TV as Superstar China<\/em>. The K-pop singer and rapper Psy was invited to judge the fourth season of Korea\u2019s biggest audition-based talent show, which has aired on music channel Mnet since 2009. The decision wasn\u2019t based on Psy\u2019s fame alone, Hwang says, \u201cEven before his mega-hit \u2018Gangnam Style,\u2019 our producers had admired Psy\u2019s integrity on stage because he had experienced the bottom and eventually rose to fame. We believed he could share more interesting ideas and passion with the contestants\u2014and he met our expectations.\u201d<\/p>\n

LIGHT ENTERTAINMENT<\/strong>
\nHwang agrees with Keshet\u2019s Shahar that \u201cjourney\u201d singing formats have lost some of their pulling power. People are no longer amazed by unknown singers turning in electrifying performances, or intrigued by their progress along the bumpy road to superstardom. Instead, he believes the needle of public opinion has swung towards \u201cfun and fast-paced\u201d light entertainment.<\/p>\n

\u201cBut light entertainment doesn\u2019t mean a lack of sincerity or authenticity in the music,\u201d Hwang stresses, pointing to celeb-driven Lip Sync Battle<\/em>, arguably the closest thing in 2016 to a breakout singing format. Starting life as a segment on The Tonight Show with Jimmy Fallon<\/em>, it was picked up by cable channel Spike and has subsequently been sold into some 17 territories. \u201cLip Sync Battle<\/em> is fun, but the performances are still great,\u201d Hwang adds. \u201cIdea and effort and passion on stage are big elements, and audiences support this.\u201d<\/p>\n

CJ E&M has several singing formats in its portfolio, including the ambitious reality\/singing hybrid Produce 101<\/em>, in which the nation produces its own girl band; singing\/survival show Boys24<\/em>; and its best-selling music-based format to date, I Can See Your Voice<\/em>, local versions of which have performed well in Indonesia, Vietnam, Thailand and China. Distributed outside of Asia by Endemol Shine Group, I Can See Your Voice<\/em> has music-industry experts attempt to identify genuine singing talent by decoding visual rather than vocal clues.<\/p>\n

The success of I Can See Your Voice<\/em> supports Hwang\u2019s argument that light entertainment is the way ahead. \u201cIt contains singing elements, but it\u2019s easier, faster and funnier than traditional singing formats. That is why we never call it a singing competition, but describe it instead as \u2018singing entertainment\u2019 or \u2018music entertainment.\u2019\u201d<\/p>\n

At MIPTV, CJ E&M is launching a new \u201csinging entertainment\u201d format, Golden Tambourine<\/em>, which premiered on Mnet in December. Hwang hopes the energetic, karaoke-inspired show will \u201ccreate a new gusto\u201d in music-driven content with its focus on fun and friendly competition.<\/p>\n

For the last two decades, the biggest and best singing formats have been among the most influential shows on the planet. They have driven television schedules, created conversations, and made headlines, stars and an awful lot of money. As Hwang puts it, \u201cSinging formats have exerted a major influence over the entire TV content ecosystem, and they are still one of the most popular genres on our screen of choice. So singing formats still live\u2014the exciting thing is where we\u2019ll take them next.\u201d<\/p>\n

Pictured: Keshet\u2019s <\/em>Master Class.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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