Category: Other

Contrary to popular belief, popular music in 2025 isn’t just for the young. Academic research reveals that music maintains critical importance for ageing audiences as “a key cultural resource of post-youth identification, lifestyle and associated cultural practices” 10. This challenges traditional assumptions about music’s generational boundaries.

Ethnographic studies conducted between 2002-2009 in Australia and the UK (with ongoing relevance in 2025) demonstrate how music subcultures evolve with their audiences 10. For instance:

• Older punk fans maintain their subcultural identity through continued concert attendance and community engagement
• Middle-aged club music enthusiasts adapt their participation to suit changing lifestyles while preserving core musical values
• Retirees use music streaming services to explore genres they lacked time for during working years 10

The data reveals several fascinating trends about ageing music fans:

1. Lifelong identification: Music preferences formed in youth often persist throughout life, with many older fans maintaining strong connections to the artists and genres of their younger days 10.
2. Adapted participation: While mosh pits might give way to seated concerts, the emotional connection remains equally strong. As one study participant noted, “I may not stage dive at 60, but I still feel the same rush when those chords hit” 10.
3. Intergenerational bonding: Shared musical tastes increasingly serve as bridges between generations, with grandparents and grandchildren bonding over classic rock or introducing each other to new artists 10.

Apple Music’s Replay 2025 feature inadvertently supports this research by allowing users of all ages to track their evolving tastes over time 11. The platform’s data could provide valuable insights into how listening habits change across different life stages.

This research has important implications for the music industry in 2025:

• Marketing strategies should consider older demographics’ substantial spending power and loyalty
• Concert venues might benefit from more age-inclusive facilities and programming
• Streaming algorithms could improve by accounting for life-stage musical needs rather than assuming all users seek the newest releases 10

The landscape of music reality shows in 2025 presents a fascinating paradox: while innovation abounds, familiar faces dominate. Chinese music competition shows (The Singer 2025, 100% Singer Battle Season, Warehouse No. 17 Season 3) illustrate this trend perfectly 9. Despite fresh formats and concepts, audiences continue seeing the same pool of artists like Zhou Shen, Zhang Bichen, Mao Buyi, and Bai Jugang across multiple shows 9.

100% Singer Battle Season attempts to break this cycle by featuring 64 contestants primarily from past idol survival shows like Produce Camp and Youth With You, including former Rocket Girls member Meng Meiqi and THE9’s An Qi 9. The show’s unique selling point is its focus on “leftover talents”—skilled performers who lacked post-show development opportunities. Early audience reception suggests this approach resonates with dedicated fanbases but struggles to achieve mainstream breakthrough 9.

Warehouse No. 17 Season 3 takes a different approach, transforming from a livehouse concept to a “city singing project” that brings music to unconventional spaces like markets, bookstores, and amusement parks 9. While praised for its intimate, lifestyle-oriented format, it similarly faces challenges in expanding beyond its core audience.

Data from these shows reveal several key insights about 2025’s music competition landscape:

1. Nostalgia remains powerful: Shows successfully leverage audience affection for past contestants (like 2007 Super Boy champion Chen Chusheng) while introducing them to new generations 9.
2. Authenticity trumps polish: The Singer 2024‘s success with live performances has raised audience expectations for genuine vocal ability over studio-perfected recordings 9.
3. Cross-generational appeal matters: Effective shows create bridges between established artists and emerging talents, as seen in Warehouse No. 17‘s mix of veteran Hu Xia and newer acts like Xilinnayi Gao 9.

The challenge for 2025’s music shows lies in balancing innovation with familiarity. As one critic notes, “Even the most devoted music show fans can’t help but feel tired of seeing the same singers’ faces” 9. The solution may lie in The Singer 2025‘s rumored approach of combining nostalgic elements (like potential appearances by Faye Wong) with fresh formats and international collaborations 9.