
Livestream Concerts Boomed During Lockdown. Are They Music's Future or Just a Pandemic Fad?
Sam primarily covers entertainment and media for dot.LA. Previously he was Marjorie Deane Fellow at The Economist, where he wrote for the business and finance sections of the print edition. He has also worked at the XPRIZE Foundation, U.S. Government Accountability Office, KCRW, and MLB Advanced Media (now Disney Streaming Services). He holds an MBA from UCLA Anderson, an MPP from UCLA Luskin and a BA in History from University of Michigan. Email him at samblake@dot.LA and find him on Twitter @hisamblake
Takeaways
- The music industry has increasingly turned to livestreamed concerts to try to make up for the massive losses sustained from the cancellation and postponement of in-person events due to the pandemic.
- An ongoing experiment is underway to find and develop the best technology and techniques for engaging fans and convincing them to pay for digital shows.
- Some themes are emerging in what works, what doesn't, and what's coming next.
Post Malone and his bandmates donned women's dresses while livestreaming a Nirvana tribute. British artist Yungblud livestreamed a performance reminiscent of a variety talk show. And Linkin Park's lead singer Mike Shinoda created a series of albums developed entirely in collaboration with his digital followers on Twitch.
Welcome to the new era of live concert-streaming.
With the pandemic effectively vaporizing the in-person concerts business, hamstrung artists and venues seeking alternative ways to engage fans have turned to livestreaming.
Although a livestreamed show cannot completely replicate an in-person concert, the medium also presents artists an untapped creative outlet – and a new challenge: to convince their fans that ticketed shows are worth the price of admission.
"These platforms have no filter. You're not hiding behind a stage full of pyrotechnics and a carefully crafted public messaging or marketing veneer; it's just you," Tim Westergren, founder of Bay Area-based streaming platform Sessions Live and former co-founder of Pandora, told dot.LA.
It's a high-stakes challenge, as many artists have grown to rely on live performances for the majority of their income.
And as the pandemic runs its indefinite course, many companies are jockeying to provide artists, their teams and a music industry at large striving to stay afloat with the next generation of livestreaming infrastructure.
What has emerged is a vast, ongoing experiment to find the best way to engage fans and convince them to pay.
Rapper, singer and songwriter Swae Lee performs on LiveXLive.Courtesy of LiveXLive
Born of Necessity
Livestreaming didn't receive serious attention or investment before the pandemic, not least because the in-person concert business was booming. It wasn't until Q3 of this year that concert trade magazine Pollstar even began tracking livestreaming data.
But COVID-19 dealt the concerts business a serious sucker punch. Pollstar forecast in April that artists, concert venues and labels were set to lose nearly $9 billion in revenue if live concerts didn't resume in 2020.
By August, Beverly Hills-based concert promoter Live Nation had reported a 95% decline in year-over-year concert revenues.
Following a frantic period of shutdowns, reopenings and weighing options, the music industry has realized that live concerts won't be back anytime soon. It is now scrambling to figure out how to make livestreaming work.
"There was some shellshock early on," said Prajit Gopal, founder of L.A.- and NYC-based LoopedLive, a streaming platform specialized in combining its 'digital venue' with a patented form of one-on-one digital meet-and-greets. "Over the last month or so, everybody is diving into it."
LiveXLive, for instance, a sprawling NASDAQ-listed music company based in West Hollywood, has amped up its livestreaming shows by 289% over the last six months compared to the same period in 2019.
Greg Patterson, who'd previously been head of music at Eventbrite, told dot.LA that he saw L.A.-based Veeps is "one of two or three companies that changed really quickly" in response to the pandemic, spinning up its first livestreamed show in March. Patterson joined Veeps in May to help the company develop its livestreaming business to complement its pre-existing suite of tools for 'long-tail artists,' such as direct-to-fan ticketing.
"Since then, there's been what feels like another company every 30 seconds," Patterson said, noting that the field remains very fluid. "It feels like the early 2000s startup period, where there were no rules."
"It's absolutely the wild West," said music industry veteran Stephen Prendergast. "To make it work we need people coming up with ideas and tech to make it more compelling; it can't be a flat, one-screen dimension."
In other words, artists sitting in their bedrooms and broadcasting on Instagram and Facebook won't cut it.
Image courtesy of Veeps
More Than a Concert
New solutions have sprung up to do what concerts do best: put fans in the same space as the bands they love. But because a digital show has its limitations, there are also ongoing efforts to provide fans with online experiences that they wouldn't find at a traditional concert.
"I always say, 'do things in digital that you can't do in the real world'," LiveXLive President Dermot McCormack told dot.LA.
Many streaming services have started to provide coaching services to help artists exploit the unique opportunities a digital platform affords, and increasingly so as data comes in showing what works and what doesn't.
"If you do the same thing over and over again, people won't want to tune in," Gopal, LoopedLive's CEO, told dot.LA. When his company hosted a livestreamed show for the cast of "Hamilton," the performers used LoopedLive's private meet-and-greet feature for more than 'Hi, how are you.' Lin Manuel-Miranda, for instance, regaled fans with freestyle raps about a topic of their choice, and some cast members gave quick dance lessons.
During Grammy-winner Brandi Carlile's Veeps stream in early October, she and her band paused the show for a 30-minute fan Q&A that spanned topics from whether the band ever gets on each other's nerves to how life has been during the quarantine and the status of Carlile's forthcoming book. The band then obliged a fan's request to sing happy birthday to her daughter.
McCormack pointed to a 20-minute Q&A one artist hosted in the middle of a LiveXLive-hosted performance. "The fans lapped it up," he said. "We had to switch off the comments, they were moving so quickly."
Fans also seem to like when artists lean in to the sort of unmediated intimacy that accompanies livestreaming. "Artists'll play a song and go 'fuck, let me start again' – fans love that; in comes a basket of tips when that happens. It's about relatability and connection," said Westergren.
For K-Pop artist James Lee, "there's definitely a rush" that comes with livestreaming. Lee, who has performed on Sessions, told dot.LA that, "I have not been on stage in over a year. [Streaming] feels very intimate. There is more of a burden because nobody is in the room with you and everything depends on me."
Linkin Park's Mike Shinoda took that intimacy to another level with his three-volume album, "Dropped Frames." Shinoda's fans on Twitch suggested themes and lyrics that he transposed into songs, some of which even included fan-submitted vocals.
More such experimentation is likely to come. DICE general manager of North American operations Shanna Jade Vélez told dot.LA she is "expecting to see a lot more innovation when it comes to interactivity." The company began operating before the pandemic as a live-ticketing discovery platform, available in seven countries. It has since streamed over 4,000 shows and sold tickets in 145 countries.
K-Pop megastars MonstaX perform on LiveXLive's platform. Courtesy of LiveXLive
Putting on a Show
Live chat has become a regular feature of livestreamed concerts, enabling concertgoers to message one another. Mandolin offers private chat rooms for groups of fans to congregate; the Indianapolis-based company launched in response to the pandemic and recently raised $5 million in seed funding.
Other startups are working to translate fan input – like clicking 'like' buttons – into a crowd roar that gets transmitted to musicians on the other side of the screen. FanTracks is one such service. It's also providing concertgoers a "director's chair" that gives them the option to toggle camera views. And it is one of many platforms experimenting with augmented reality to "transport" the performers to different locations.
Peter Shapiro, owner of several venues including the Brooklyn Bowl, is founder of Fans, a concert-streaming platform that transports audience members themselves, by allowing them to beam their video-feeds onto screens at venues where livestreamed performances are held. The technique is similar to how the NBA has allowed its fans to project their video-feeds onto screens in the stands.
Taking virtual transportation a step further, L.A.-based Wave renders musicians into digital avatars who interact with and perform for fans in otherworldly settings where the laws of physics are optional. The company raised $30 million in June and has hosted concerts by John Legend and The Weeknd. Produced in partnership with TikTok, the Weeknd's show reportedly attracted 2 million unique viewers.
Similar to Travis Scott's virtual concert series in April – where a giant, digital rendering of the hip-hop artist performed for over 27 million viewers across five shows hosted on Epic Games' Fortnite – Wave concerts are created with gaming engines and can be accessed by viewers via PC, gaming consoles or VR headsets. Unlike the Scott concert, however, which was pre-recorded and then rendered into Fortnite's virtual venue, Wave's avatars perform in real-time.
The TikTok live event featuring the Weeknd and Wave's technology brought aspects of gaming to live concerts.
Whether artists perform as an avatar or their unvarnished selves, Veeps has found that fans seem to prefer some degree of predictability on what they will see in a livestream. Similarly, Vélez said DICE is finding that fans want "a reason" to purchase a ticket. Some artists are turning to filming shows at big, deserted, "hauntingly beautiful" sets like churches and palaces, she said.
Patterson added that shorter shows, around 45 minutes, also seem to perform well, and noted that the user interface must be premium.
"It has to be on the level of watching a movie on Netflix or Disney Plus," the Veeps executive said. "If you mess it up, with so many other options, no one's going to want to come back."
Anyone who's shelled out $100 for a concert wouldn't necessarily point to the auxiliary pieces surrounding a show – the lighting, the refreshments, the bathrooms – as key to the experience. It's the performance that matters. But in the digital world, the areas ancillary to the performance are opportunities for virtual venues to distinguish themselves. So says L.A.-based streaming platform Moment House.
"If you make fans feel that they're part of this very elegant, premium and special place of a moment, we can make this a cultural phenomenon," Moment House co-founder Arjun Mehta told dot.LA. "We saw that thesis in our beta stage play out really nicely."
Moment House debuts this month, with a focus on user experience. Mehta developed the idea as a student in the inaugural class of USC's Jimmy Iovine and Andre Young Academy, a program that focuses on the intersection of design, engineering, management and communication. The company has raised a $1.5 million seed round led by Forerunner Ventures with investors including Scooter Braun, Troy Carter and actor Jared Leto.
DICE began operating before the pandemic as a global live-ticketing discovery platform. It has since streamed over 4,000 shows and sold tickets in 145 countries.Image courtesy of DICE
What's Next?
As this experiment continues and the culture and technology of virtual performances grows, we could be entering a new paradigm for musicians and their audiences.
"The early-90s internet is unrecognizable compared to what we have today and I think visual content and music will become unrecognizable to what we have now," Patterson of Veeps said.
One example of new technology that could open a world of possibilities is Aloha by Elk, which launches in beta this month and will allow musicians to play together in real time from hundreds of miles away.
"Playing together over the internet is something that musicians have been dreaming about since Skype: 'We can talk, but why can't we play?'" Michele Benincaso, founder of the Stockholm-based Elk Audio, the company behind Aloha, told dot.LA. The answer: latency.
The delay between someone speaking over Zoom or Skype and someone else hearing it is usually between 500 milliseconds and 1 second. The delay itself often fluctuates, a process known as "jitter." These issues make playing together on beat effectively impossible.
Solving these problems, as Aloha aims to do, would clear the way to a whole new path for livestreamed concerts.
"I could think of hundreds of examples for things that haven't been done today," said Sharooz Raoofi, a musician and tech entrepreneur who splits his time between L.A. and London. He is one of a few artists who's worked with Aloha prior to its upcoming beta launch.
"If you think about legendary festival performances, like when a guest vocalist jumps on stage and sings a track – that can't be done in digital unless it's latency free," Raoofi told dot.LA. "Even in the best of times, trying to get musicians together is tricky – more so if it's multiple bands. Doing that remotely without any latency could be a game changer."
For now, the maximum distance Aloha can manage is about 1,000 miles, enough to allow musicians in different countries to play together. As this technology develops and the distance grows, however, the possibilities may become virtually endless.
A Band-Aid or a Bridge to the Future?
Whether livestreaming becomes an enduring pillar of the music industry or fades into a fad once the pandemic dies down will depend on whether it can bring in enough money and deliver a new kind of experience.
"I was really struck that someone made $10,000 in a show with 300 people attending – and I can guarantee you there's not a room anywhere in the world that that artist could sell out," Westergren said of a performer who streamed on Sessions. "Historically there are only two ways for an artist to get paid like that. One is to spend years on a stage, grinding and touring. The other is to get plucked out of obscurity by the powers that be."
"Livestreaming can solve that, but only if you have monetization," he said.
---
Sam Blake primarily covers entertainment for dot.LA. Find him on Twitter @hisamblake and email him at samblake@dot.LA
- Music Tech is Making it Easier — and Harder — for Artists - dot.LA ›
- Event Hub Aims to Bring Vendors Back to Virtual Concerts - dot.LA ›
- Tencent Acquires Stake in LA-Based Concert Platform Wave - dot.LA ›
- Q&A CEO Troy Carter on Predicting Hits and Music's Future - dot.LA ›
- Tastemaking & Gatekeeping in the Streaming Era - dot.LA ›
- What the Future of Streaming Means for Artists - dot.LA ›
- 1RIC Studio Aims to Kick Off a New Era of Artist-Fan Engagement - dot.LA ›
- Spotify's Latest Acquisition built Locker Room - dot.LA ›
Sam primarily covers entertainment and media for dot.LA. Previously he was Marjorie Deane Fellow at The Economist, where he wrote for the business and finance sections of the print edition. He has also worked at the XPRIZE Foundation, U.S. Government Accountability Office, KCRW, and MLB Advanced Media (now Disney Streaming Services). He holds an MBA from UCLA Anderson, an MPP from UCLA Luskin and a BA in History from University of Michigan. Email him at samblake@dot.LA and find him on Twitter @hisamblake
Subscribe to our newsletter to catch every headline.
The Santa Monica-based movie-ticketing service Atom Tickets has pre-sold more tickets for "Godzilla vs. Kong" than any film since the start of lockdown.
Following a disastrous year for the box office, its performance could be a litmus test for Hollywood and the many theaters that teetered on the brink during the pandemic.
The Theatrical Release Window: Will the Changes Last?
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="e7bb2683314ede849919cd30d57c4099"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/ZOlPoYDVYwk?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>- Warner Bros.' Films Will Be Released in Theaters, HBO Max - dot.LA ›
- VidCon Returns! Could Other In-Person Events Be Coming Soon ... ›
Sam primarily covers entertainment and media for dot.LA. Previously he was Marjorie Deane Fellow at The Economist, where he wrote for the business and finance sections of the print edition. He has also worked at the XPRIZE Foundation, U.S. Government Accountability Office, KCRW, and MLB Advanced Media (now Disney Streaming Services). He holds an MBA from UCLA Anderson, an MPP from UCLA Luskin and a BA in History from University of Michigan. Email him at samblake@dot.LA and find him on Twitter @hisamblake
Despite — or in many cases because of — the raging pandemic, 2020 was a great year for many tech startups. It turned out to be an ideal time to be in the video game business, developing a streaming ecommerce platform for Gen Z, or helping restaurants with their online ordering.
But which companies in Southern California had the best year? That is highly subjective of course. But in an attempt to highlight who's hot, we asked dozens of the region's top VCs to weigh in.
We wanted to know what companies they wish they would have invested in if they could go back and do it all over again.
Hottest
<img class="rm-lazyloadable-image rm-shortcode" lazy-loadable="true" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDk5MzIyNS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY1OTQ3MjQ2OH0.JYCNMjYvosYa5SI7701CH_jMFbeFdMcRCChXt442cq0/image.png?width=980" id="3927d" width="686" height="128" data-rm-shortcode-id="5defd5b7e1983aa7681f36d6e1783a7b" data-rm-shortcode-name="rebelmouse-image" alt="PopShop Live logo" />PopShop Live ($100 million)
<p>The live-streaming shopping channel created by Danielle Lin reportedly found itself in the middle of a <a href="https://www.theinformation.com/articles/benchmark-wins-deal-for-live-shopping-app-popshop-at-100-million-valuation" target="_blank">venture capital bidding war this year</a>. Benchmark eventually won out leading a Series A round, vaulting the app at a $100 million valuation. The Los Angeles-based platform has been likened to QVC for Gen Z and <a href="https://dot.la/popshop-live-2646369816.html" target="_self">it's part of a new wave of ecommerce</a> that has found broader appeal during the pandemic. Google, Amazon and YouTube have launched live shopping features and other venture-backed startups like Los Angeles-based NTWRK have popped up.</p>Boiling
<img class="rm-lazyloadable-image rm-shortcode" lazy-loadable="true" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDk5MzIyOC9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY2MzI5MjYwMn0.h7Nq7GiwXTcg_7Io5WEXblFX0rWQHxn69RzluTh7n_Q/image.png?width=980" id="4e424" width="361" height="93" data-rm-shortcode-id="b53f9030fdb96b08d7cfdb5383c97bfb" data-rm-shortcode-name="rebelmouse-image" alt="Scopely logo" />Scopely ($3.3 billion)
<p>One of the most valuable Southern California tech startups with <a href="https://dot.la/doubling-valuation-scopely-is-now-one-of-the-top-la-tech-startups-2648525465.html" target="_self">a $3.3 billion valuation</a>, the Culver City mobile game unicorn has benefitted from a booming gaming market that has flourished in this stay-at-home economy. Scopely offers free mobile games and its roster includes "Marvel Strike Force," "Star Trek Fleet Command" and "Yahtzee with Buddies." In October the company raised a $340 million Series E round backed by Wellington Management, NewView Capital and TSG Consumer Partners, among others fueling speculation that it was on its road to an IPO. Co-CEO Walter Driver <a href="https://www.bloomberg.com/news/articles/2020-10-28/scopely-raises-340-million-in-push-to-be-a-mobile-gaming-giant?utm_source=google&utm_medium=bd&cmpId=google&sref=4Kf8RwDw" target="_blank" rel="noopener noreferrer">has said</a> that he doesn't have immediate plans to go public. </p>Ordermark ($70 million)
<p>The coronavirus has forced the closure of many dining rooms, making Ordermark all the more sought after by restaurants needing a way to handle online orders. Co-founder and CEO Alex Canter started the business in 2017, which recently rang in more than <a href="https://www.forbes.com/sites/aliciakelso/2020/12/09/how-ordermarks-latest-funding-haul-could-help-independent-restaurants-survive-the-pandemic/?sh=443a72644b7d" target="_blank">$1 billion in sales</a>. Ordermark secured $120 million in Series C funding by Softbank Vision Fund 2 in October that it will use to bring more restaurants online. The company's Nextbite, a virtual restaurant business that allows kitchens to add delivery-only brands such as HotBox from rapper Wiz Khalifa to their existing space through Ordermark, is also gaining traction. </p>Simmering
<img class="rm-lazyloadable-image rm-shortcode" lazy-loadable="true" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDk5MzMxNi9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY1NjM4MjQ5Mn0.XSHQfru9tTpdeBqd_ecb--8DiZg_vdyOtF9ZV9zAG78/image.png?width=980" id="839d0" width="455" height="111" data-rm-shortcode-id="79ffc10f23fc7ca1572d55df3f299f85" data-rm-shortcode-name="rebelmouse-image" />Cameo ($300 million)
<p>Cameo, which launched three years ago, had its breakout year in 2020 as C-list celebrities like Brian Baumgartner <a href="https://www.buzzfeed.com/larryfitzmaurice/kevin-office-highest-earning-cameo" target="_blank">banked over a million dollars</a> from creating customized videos for fans. In the sincerest form of flattery, <a href="https://www.bloomberg.com/news/articles/2020-12-15/facebook-building-tool-to-let-fans-pay-celebrities-for-face-time" target="_blank">Facebook is reportedly launching a feature that sounds a lot like Cameo. </a> Even though the company is still technically headquartered in Chicago, we included Cameo because CEO Steven Galanis and much of the senior team moved to L.A. during the pandemic and say they plan to continue running the company from here for the foreseeable future.</p>Mothership ($64 million)
<p>Co-founded by CEO Aaron Peck, Mothership provides freight forwarding services intended to streamline the shipping experience. The company's tracking technologies connect shippers with nearby truck drivers to speed up the delivery process. It raised $16 million in Series A venture funding last year, driving the platform to a $48 million pre-money valuation.</p>Nacelle ($6.7 million)
<p>Founded in 2019, Nacelle's ecommerce platform helps retailers improve conversion rates and decrease loading speeds for their sites. The software integrates with Shopify and other services, offering payment platforms and analytics integration, among dozens of services. Nacelle raised about $4.8 million earlier this year with angel investors that included Shopify's Jamie Sutton, Klaviyo CEO Andrew Bialecki and Attentive CEO Brian Long. </p>Boulevard ($30 million)
<p>Matt Danna and Sean Stavropoulos <a href="https://dot.la/boulevard-app-2649021308.html#:~:text=Their%20four%2Dyear%20old%20salon,to%20digitize%20their%20appointment%20books." target="_self">came up with Boulevard when an impatient Stavropoulos was frustrated</a> wasting hours to book a hair appointment. Their four-year-old salon booking and payment service is now used by some of Los Angeles' best-known hairdressers. Last month, the two secured a $27 million Series B round co-led by Index Ventures and Toba Capital. Other investors include VMG Partners, Bonfire Ventures, Ludlow Ventures and BoxGroup.</p>CloudKitchens ($5.3 billion)
<p>Uber co-founder Travis Kalanick CloudKitchens rents out commissary space to prepare food for delivery. And as the pandemic has fueled at-home delivery, <a href="https://www.wsj.com/articles/uber-founder-turns-real-estate-mogul-for-ghost-kitchen-startup-11603186200" target="_blank">the company has been gobbling up real estate</a>. The commissaries operate akin to WeWork for the culinary world and allow drivers to easily park and pick-up orders as the delivery market has soared during pandemic. Last year, it raised $400 million from Saudi Arabia's colossal sovereign wealth fund. </p>GOAT ($1.5 billion)
<p>Founded by college buddies five years ago, GOAT tapped into the massive sneaker resale market with a platform that "authenticates" shoes. The Culver City-based company has since <a href="https://dot.la/goat-group-la-2647074186/goat-uses-nba-playoffs-to-launch-brand-campaign" target="_self">expanded into apparel and accessories</a> and states that it has 20 million members. Last year, Foot Locker sunk a $100 million minority investment into 1661 Inc., better known as Goat. And this fall it landed another $<a href="https://dot.la/sneaker-reseller-goats-100m-raise-ptrendsetter-in-a-casual-era-of-ecommerce-2647774644.html" target="_self">100 million Series E</a> round bankrolled by Dan Sundeheim's D1 Capital Partners. </p>Savage X Fenty
<p>The lingerie company co-founded by pop singer Rihanna in 2018 is noted for its inclusivity of body shapes and sizes. It has raised over $70 million, but <a href="https://www.nytimes.com/2020/12/14/business/dealbook/roblox-tech-ipos.html" target="_blank">The New York Times' DealBook newsletter recently reported</a> that it's been on the hunt for $100 million in funds to expand into active wear. The company generates about $150 million in revenue, but is not yet profitable, according to the report. It became <a href="https://www.businessinsider.com/rihanna-savage-x-fenty-accused-of-deceptive-marketing-2020-2" target="_blank">the focus of a consumer watchdog investigation</a> after being accused of "deceptive marketing" for a monthly membership program.</p>Warming Up
<img class="rm-lazyloadable-image rm-shortcode" lazy-loadable="true" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDk5MzYwOS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY3MzQ1MzE4OX0.fS5XtGx4M-tqWecrth6NCHawGSg2aSkb-yR-cY3wbtU/image.png?width=980" id="4fca7" width="600" height="600" data-rm-shortcode-id="6a5ba1810dd71af400ee8f61634cc56e" data-rm-shortcode-name="rebelmouse-image" />FabFitFun ($930 million)
<p>The lifestyle company provides customized personal subscription box services every three months with full size products. Started in 2010 by Daniel Broukhim, Michael Broukhim, Sam Teller and Katie Rosen Kitchens, it now boasts more than one million members. Last year, the company raised $80 million in a Series A round led by Kleiner Perkins last year and <a href="https://labusinessjournal.com/news/2020/oct/05/fast-growing-etailer-fabfitfun-possible-ipo/" target="_blank">appears to be preparing for an eventual IPO</a> as it slims down costs and refocuses on its <a href="https://dot.la/fabfitfun-layoffs-refocus-2645321060.html" target="_self">high value </a>products.</p>Dave ($1 billion)
<p>Launched in 2016, the finance management tool helps consumers to avoid overdrafts, provides paycheck advances and assists in budgeting. Last year, it began to roll out a digital bank account that was so popular that two million users signed up for a spot on the waitlist. The company, run by co-founder Jason Wilk, has raised $186 million in venture capital and counts billionaire Mark Cuban as an early investor and board member. Other backers include Playa Vista-based Chernin Group.</p>Sure ($59 million)
<p>SURE offers multiple technology products to major insurance brands — its platform can host everything from renter's insurance to covering baggage, so customers never have to leave an agency's website. It also offers its platform to ecommerce marketplaces, embedding third-party insurance protections for customers to purchase all on the same webpage. Founded in 2014, the Santa Monica-based startup last raised an $8 million Series A round led by IA Capital in 2017.</p>Zest AI ($90 million)
<p>Founded in 2009 by former Google CIO Douglas Merrill and ex-Sears executive Shawn Budde, Zest AI provides AI-powered credit underwriting. It helps banks and other lenders identify borrowers looking beyond traditional credit scores. It claims to improve approval rates while decreasing chargeoffs. The company uses models that aim to make the lending more transparent and less biased. This fall the company raised $15 million from Insight Partners, MicroVentures and other undisclosed investors, putting its pre-money valuation at $75 million, according to PItchbook.</p>PlayVS
<p>Santa Monica-based PlayVS provides the technological and organizational <a href="https://dot.la/playvs-high-school-esports-2647048099.html" target="_self">infrastructure for high school esports leagues</a>. The pandemic has helped the company further raise its profile as traditional sports teams have been benched. Founded in early 2018, PlayVS employs 46 people and has raised over $100 million. In addition to partnering with key educational institutions, it also has partnerships with major game publishers such as Riot and Epic Games.</p>Tapcart ($40 million)
<p>A SaaS platform helps Shopify brands create mobile shopping apps. The marketing software saw shopping activity jump 50% <a href="https://dot.la/tapcart-mobile-retail-platform-2646056623.html" target="_self">over 90 days</a> as the pandemic walloped traditional retailers. Founded by Eric Netsch and Sina Mobasser, the company raised a $10 million Series A round led by SignalFire, bringing the total raise to $15 million.</p>Papaya ($31.8 million)
<p>Papaya lets customers pay any bill from their mobile devices just by taking a picture of it. The mobile app touts the app's ease-of-use as a way to cut down on inbound bill calls and increase customer payments. Founded by Patrick Kann and Jason Metzler, the company has raised $25 million, most recently a S10 million round of convertible debt financing from Fika Ventures, Idealab and F-Prime Capital Partners.</p>Floqast ($250 million)
<p>FloQast is a management software that integrates enterprise resource planning software with checklists and Excel to manage bookkeeping. The cloud-based software company claims its system helps close the books up to three days faster. It is used by accounting departments at Lyft, Twilio, Zoom and The Golden State Warriors. In January, it raised $40 million in Series C funding led by Norwest Venture Partners to bring the total raise to $92.8 million.</p>Brainbase ($26.5 million)
<p>The company's rights management platform expedites licensing payments and tracks partnership and sponsorship agreements. It counts BuzzFeed, the Vincent Van Gogh Museum and Sanrio (of Hello Kitty and friends fame) among its clients. In May <a href="https://dot.la/headspace-brainbase-2647426309/rights-management-platform-brainbase-beefs-up-c-suite-following-8m-raise" target="_self">it announced $8 million in Series A financing </a>led by Bessemer Venture Partners and Nosara Capital, bringing the total raised to $12 million.</p>OpenPath ($28 million)
<p>The Los Angeles-based company provides a touchless entry system that uses individuals cell phones to help with identification instead of a key card. The company offers a subscription for the cloud-enabled software that allows companies to help implement safety measures and it said demand has grown amid the pandemic. Founded by <a href="https://dot.la/alex-kazerani-james-segil-2646964770.html" target="_self">James Segil and Alex Kazerani</a> the company r<a href="https://dot.la/openpath-primed-for-covid-accelerated-growth-announces-36-million-raise-to-make-keycards-obsolete-2646416034/particle-2" target="_self">aised $36 million led by Greycroft </a>earlier this year, bringing its total funding to $63 million.</p>FightCamp ($2.5 million)
<p>FightCamp is an interactive home workout system that<a href="https://mashable.com/article/fightcamp-review/" target="_blank"> turns your space into a boxing ring</a> with a free standing bag, boxing gloves and punch trackers. The company is riding the wave of at-home fitness offerings including Peloton, Mirror and Zwift that have taken off during the pandemic as gyms closed. The company has raised $4.3 million to date.</p>Numerade
<p>The Santa Monica-based company provides video and interactive content for education in math, science, economics and standardized test prep. Founded in 2018 by Nhon Ma and Alex Lee, who previously founded Tutorcast, an online tutoring service, the company gathers post-graduate educated instructors to create video lessons for online learning.</p>Our Place ($32.5 million)
<p>The creator of a pan with a cult following on social media, this Los Angeles-based startup designs and retails cookware and dinnerware. Founded by Amir Tehrani, Zach Rosner and Shiza Shahid, the company completed its Series A funding earlier this year, bringing its total raised to date to $10 million.</p>Tala ($560 million)
<p>For customers that have no formal credit or banking history, this company's application promises more financial access, choice and control. It gathers data to create a credit score that can be used to instantly underwrite and disburse loans ranging from $10 to $500. Co-founded by Shivani Siroya and Jonathan Blackwell, Tala has raised $217.2 million to date. Its investors include PayPal Ventures, Lowercase Capital and Data Collective.</p>ServiceTitan ($2.25 billion)
<p>Founded in 2007 by chief executive Ara Mahdessian and president Vahe Kuzoyan, ServiceTitan operates software that helps residential home contractors grow their businesses. It provides businesses tools like customer relationship management and accounting integration to streamline operations. The company closed a $73.82 million Series E funding round from undisclosed investors earlier this year.</p>100 Thieves ($160 million)
<p>Founded in 2017 by former professional "Call of Duty" player Matthew Haag, 100 Thieves manages esports competitions in major titles including "Counter Strike Global Offensive" and "League of Legends." The company also produces apparel and merchandise, opening a physical store and training ground called the "Cash App Compound" in collaboration with Fortnite earlier this year. The company has raised $60 million to date, from investors including Salesforce CEO Marc Benioff and Aubrey Graham, better known as the rapper Drake.</p>Emotive ($16.5 million)
<p>This AI-powered customer service platform automates text conversations between customers and businesses to increase sales. Emotive uses their sales team to verify questions, distinguishing it from other bot-driven marketing services, according to the company. The company was founded in 2018 by Brian Zatulove and Zachary Wise, who serve as the chief executive and the chief operating officer, respectively. It has raised $6.65 million to date, from Floodgate Fund and TenOneTen Ventures. </p>Everytable ($33 million)
<p>Created by former hedge fund trader Sam Polk, the Los Angeles-based startup wants to be a healthy fast food chain. It <a href="https://dot.la/everytable-2648958920.html" target="_self">prices its healthy pre-packaged meals around $5</a> in underserved communities while costing more in other neighborhoods with the goal of reducing so-called food deserts in low-income neighborhoods. It also offers a subscription delivery service. The company recently closed a $16 million Series B round led by Creadev along with Kaiser Permanente Ventures.</p>- Los Angeles' Tech and Startup Scene is Growing. - dot.LA ›
- The dot.LA/ Pitchbook Top 50 LA Startups for 2020 Q2 - dot.LA ›
- dot.LA/Pitchbook 50 Hottest Los Angeles Companies - dot.LA ›
Ben Bergman is the newsroom's senior finance reporter. Previously he was a senior business reporter and host at KPCC, a senior producer at Gimlet Media, a producer at NPR's Morning Edition, and produced two investigative documentaries for KCET. He has been a frequent on-air contributor to business coverage on NPR and Marketplace and has written for The New York Times and Columbia Journalism Review. Ben was a 2017-2018 Knight-Bagehot Fellow in Economic and Business Journalism at Columbia Business School. In his free time, he enjoys skiing, playing poker, and cheering on The Seattle Seahawks.