Who quieted the upheaval in music programming and television? References like Sputnik, Golden Age, or Crystal Ball linger from the past, and though they remain dormant, this opening thought hints at a new reality. Today, traditional television carves out space for music, except when it dons the competitive look of talent shows. Platforms now host a wealth of documentaries, and Amazon Prime Video is even adopting the music competition format with the acquisition of Operación Triunfo. The boundless Internet lets everyone pick and consume the audiovisual content they want.
Before drawing conclusions, a clarifying mantra shapes the relationship between music and television. Do audiences truly enjoy musical content? The audiometric data shows that the producers can place guests and still claim viewers are leaving. It is not ideal, but it is how things stand. Urbana Gil, head of Society and Culture at RTVE, notes that audiences are highly fragmented, making it difficult for a music program outside the talent domain to secure high ratings. When it comes to talent, La 1 has tested formats after OT left the channel, with projects like Cover Night, Duos Incredible, and Benidorm Festival.
It seems only standout events such as the Latin Grammys can perform a true miracle. When the Latin music awards air, La 1 attains a striking audience share in the prime time, and the response from viewers is warm. A rapper named Erik Urano recently spoke with this newspaper about television’s impact on music, explaining that the idea of competition has become a universal lesson for aspiring musicians.
On a different track, TVE brings back A Country to Rest with Ariel Rot. Previous seasons did not pull strong numbers, yet the show’s musical quality remains a highlight, according to Gil. In the public broadcasting ecosystem, Radio 3 Concerts has occupied a consistent presence for decades. Yet in a world saturated with online content, magazines have lost some of their former influence.
An extinct format
Informational programs, music videos, and concert shows thrived in the 80s and 90s, only to fade away. A moment when Catalan television summoned momentum saw Francesc Fàbregas, the creator and first director of the memorable Sputnik on TV3, which also functioned as a training ground for artists. Events unfolded locally, many groups emerged from regions with a strong public television voice, and the platform became a lively stage for diverse music scenes. The journalist recalls how a young, self-directed television culture grew and how many people from different musical genres found a place to shine.
Looking ahead, the core belief that keeps projects alive rests on solid management and a willingness to preserve legacies. Yet the efficiency and capacity to record concerts have diminished. The head of Catalan Public Television’s current program area estimates fifty-seven live broadcasts were recorded in the last two years, underscoring a shift in priorities and resources.
A more closed industry
Sputnik left a lasting mark on TV3, shaping cultural programming that still informs today. The collaboration between the Catalan music scene and the Catalan audiovisual sector moved in step with global trends, paralleling the era when MTV defined a generation and reality shows appeared early on to keep audiences engaged.
TV3 even maintains a dedicated music content department. What changed afterward? Trepat explains shifts in consumer habits, evolving audiovisual trends, tighter budgets, and the need to prioritize carefully. The new musical powerhouse, which has formed a kind of modern family, channels the emotional power of music into programs and content that showcase this dynamic.
In Betevé the cultural critic Aïda Camprubí hosts a remaining musical space called Territori Groupie, a reimagining of Feel, within the program Plaça Tísner. She adds a crucial factor: the decline in musical exposure tracks with a more structured music industry that includes more insurance and contracts. In earlier times, there were many opportunities for artists, but now the bonds between industry and television have changed. Urbana Gil notes the context is entirely different now.
New windows
In a seeming stalemate, the Internet opened wide pathways that proved TV is not the sole audiovisual channel. From Tiny Desk concerts to the vast array of YouTube, TikTok, and Twitch channels, movements thrived. Gallery Sessions, born in Barcelona, became a standout project in this environment. An artist performs a song in a window that has become the brand of the initiative, echoing the idea of a storefront. Manuel Turizo, Tokischa, and Rigoberta Bandini have shared the experience. Genís Pena, the project manager, explains that TV has stopped betting on these formats while Gallery Sessions fills the gap. The concept focuses on engaging a generation that does not primarily consume traditional TV.
According to Pena, the key to success lies in cross-platform design. Content is built to live across multiple channels, allowing audiences to discover it in varied places. This flexibility helps attract viewers through different platforms. Gallery Sessions started as performances and has grown into documentaries and other musical entertainment content. A musician’s space to express music securely matters, Pena notes, pointing out a shift away from the era when television was the sole stage for artists.