Due to the COVID-19 pandemic showcase festival Eurosonic Noorderslag 2021 took place entirely online. One of its elements consisted of numerous prerecorded videos (each about 15 min long) that showcased artists performing “live”. The unique pandemic circumstances, which forced participating musicians to experiment with a new format, made it possible to observe how various emerging artists utilized their performance capital and media affordances created by the festival organizers to develop their careers in the difficult realities of the COVID-19 pandemic. The purpose of this paper is to discover what approaches were adopted by artists to make the festival videos and what these approaches tell us about the online performance capital possessed by artists. Analysis of empirical material suggests that the Eurosonic Noorderslag videos should be conceptualized as a continuum of types ranging from “pure” concert footage through videos that mimic a concert performance but contain elements that clearly suggest special pandemic circumstances to videos that present innovative interpretations of music video-clip conventions. A video's position in the continuum does not depend only on levels of online performance capital held by an artist because low levels of this capital can be masked by the artist's social and economic capital.

由于 COVID-19 大流行展示节 Eurosonic Noorderslag 2021 完全在线举行。它的元素之一包括大量预先录制的视频（每个长约 15 分钟），展示艺术家“现场”表演。独特的大流行情况迫使参与的音乐家尝试一种新的形式，这使我们有可能观察到各种新兴艺术家如何利用音乐节组织者创造的表演资本和媒体功能，在 COVID-19 的艰难现实中发展自己的职业生涯大流行。本文的目的是发现艺术家采用了哪些方法来制作节日视频，以及这些方法告诉我们艺术家拥有的在线表演资本。对实证材料的分析表明，Eurosonic Noorderslag 视频应被概念化为一系列类型，从“纯”音乐会镜头到模仿音乐会表演但包含明确暗示特殊流行病情况的元素的视频，再到呈现音乐视频创新诠释的视频-剪辑约定。视频在连续体中的位置不仅仅取决于艺术家持有的在线表演资本水平，因为这种资本水平低可能会被艺术家的社会和经济资本所掩盖。