VRChat Paid Live Events Shift From Novelty to Monetization
The event illustrates how VRChat live performances are evolving from a rare spectacle into a monetized, repeatable format that can compensate artists, using RIOT MUSIC's AdHoc service as an infrastructure layer.
Reporting from 1 sources: PANORA.
RIOT MUSIC's paid VRChat event 'Hajime no Rutsubo Vol.2' on April 29 used the company's AdHoc ticketing service. The event featured two venues with separate tickets, hosting artists like CROWK, siromi, Sifneos, Amemiya Chika, Kotoru Akubi, and Shirakawa Shirase. The report notes that paid VRChat live events are moving from being a novelty to a sustainable model for artist compensation.
RIOT MUSIC's 'Hajime no Rutsubo Vol.2' on April 29 was a paid VRChat live event that used the company's AdHoc ticketing service, which handles ZAIKO ticket sales, account linking, and promotion. The event had two separately ticketed venues: Venue A featured units CROWK, siromi, and Sifneos, while Venue B hosted solo artists Amemiya Chika, Kotoru Akubi, and Shirakawa Shirase. The author attended both venues and described the format as similar to a circuit event with simultaneous stages.
PANORA's report frames the event as part of a broader shift. Large VRChat events like Sanrio Vfes are now established, and attention has moved from the novelty of watching a live show in VR to the question of how to monetize these events so artists who have performed for free can receive payment. 'Hajime no Rutsubo Vol.2' felt closer to a booking-type live house show than a major IP spectacle, offering a realistic template for regularly holding paid live events on VRChat.
Synthesized by Yomimono from the 1 cited source below, including Japanese-language reporting where cited, then editorially reviewed before publishing.