当白酒遇上演唱会：五粮液在宜宾做了一件“不着急卖酒”的事

白酒行业进入深度调整期，几乎所有人都在问同一个问题——“消费者去哪儿了？”当渠道压货的老路越走越窄，五粮液选择在宜宾搭起一座舞台，用万人大合唱的方式来回答这个问题。

不止是一场演唱会，更是一次“场景定义权”的争夺

9月25日，中秋之夜。宜宾体育赛事中心综合馆迎来建成后的首场万人级演艺活动，五粮液携手中央广播电视总台央视频打造的《和美声耀》群星演唱会首站在这里落幕。场馆上座率超90%，观众覆盖宜宾本地、四川省内以及省外多地。

尹颂与韩雪搭档主持，萧敬腾连唱四首经典曲目，尚雯婕、水木年华、付辛博、海来阿木、张小婉、NAME女团等艺人轮番登台。演出以“三江映月融酝和美”为主题，设置“酿一瓶时光——经典”“碰一杯青春——乐享”等篇章，将中秋团圆的文化意象与品牌叙事自然融合。

但如果只把这场演唱会看作一次常规的品牌冠名，就低估了它的价值。

在酒业时报看来，五粮液真正在做的事，是对消费场景定义权的争夺。过去白酒品牌的场景叙事高度依赖渠道和终端，依托货架陈列、宴席推荐、团购公关触达用户。而在消费者注意力碎片化的今天，场景不再等待被“发现”，而需要被“创造”。谁能定义消费者在什么情境下、带着怎样的情绪举起那杯酒，谁就掌握了下一轮竞争的主动权。

为什么是宜宾，为什么是中秋？

选择宜宾、锁定中秋档期，并不是一次随机排期。

宜宾是五粮液的根脉所在，三江交汇的地理意象，天然契合“和美”的品牌哲学。中秋又是国内情感浓度极高的传统节日，提供了优质的情感连接入口，团圆、思念、欢聚的情绪，恰好是白酒消费最自然的催化剂。

更值得关注的是，五粮液充分释放了“酒都主场”的优势。演唱会不只是一场品牌活动，还和宜宾城市文旅深度联动。大量跨城观众奔赴宜宾，直接带动本地餐饮、住宿、交通等消费增长。这种品牌活动+城市文旅的双向赋能，让演唱会的价值跳出品牌传播范畴，地方政府与市民都成为品牌叙事的参与者，传播的长远效果远超过单纯投放广告。

行业都在“卷”演唱会，五粮液的差异在哪？

白酒品牌入局演唱会赛道，早已不是新鲜事。2025年，有超20家白酒品牌以主办、冠名、深度合作等形式扎堆进入演艺市场，全年落地场次相比上一年增长三成以上。茅台文旅携手央视打造音乐艺术节，习酒独家冠名刀郎巡回演唱会，泸州老窖在窖主节邀请歌手登台，剑南春、郎酒也陆续在各地推出冠名演出。

但五粮液的落地路径，和大多数酒企存在结构性差别。

多数酒企赞助演唱会，核心模式是“买酒赠票”，依靠门票稀缺性拉动高端产品销售，本质是渠道促销的场景化包装。这种方式短期能够拉动销量，但存在明显天花板：观众大多为明星而来，品牌更像活动的出资方，很难沉淀长期心智。

五粮液的打法，更偏向内容共创。它与中央广播电视总台的战略合作自2023年启动，五粮液加入总台“品牌强国工程”，拿下《新闻联播》前黄金广告资源，同时成为春晚、秋晚“和美好礼”独家互动合作伙伴，2025年春晚总触达168亿人次。《和美声耀》演唱会，正是这套长期战略在音乐场景的延伸。品牌并非简单粘贴logo，而是从主题方向、篇章设计到艺人遴选，全程参与内容搭建。

在酒业时报看来，这是一种从“流量采购”到“内容资产积累”的思维转换。前者是一次性消耗，后者则持续在消费者心智中沉淀品牌价值。

白酒年轻化：从“喊口号”到“给场景”

白酒行业面临的结构性挑战无法回避。中国酒业协会发布的《2025中国白酒市场中期研究报告》指出，伴随年轻消费群体崛起，白酒消费结构正在发生深刻变化，行业正迎来由消费代际更迭带来的变革。2025年前三季度，酒类市场景气指数仅为44.85，落在“较不景气区间”。

但“年轻化”三个字，说起来容易落地难。更换产品包装、邀请新生代代言人、推出低度酒，不少酒企都尝试过，最终收效参差不齐。五粮液2025年上半年营收527.71亿元，同比增长4.19%，归母净利润194.92亿元，在行业承压环境中守住增长韧性。

关键在于：年轻消费者不是不喝酒，而是需要一个属于他们的喝酒理由和喝酒场景。演唱会恰好提供了这样的沉浸式场景。几个小时的现场体验里，品牌不再是强行推销的商品，而是被观众切身感受。萧敬腾演唱《王妃》引发全场欢呼，海来阿木六首连唱带动万人合唱，这些情绪高点与品牌体验深度绑定，记忆效果远胜一条30秒广告。

五粮液正在用这场实践回答行业命题：品牌年轻化的本质，不是让年轻人被动“接受”白酒，而是推动白酒自然进入年轻人的生活方式。

品牌价值277.8亿美元背后的“慢功夫”

拉长时间维度看，五粮液的品牌建设，是持续多年的长期布局。

据Brand Finance发布的《2025年中国品牌价值500强》报告，五粮液2025年品牌价值达277.8亿美元，增幅7.3%，连续九年保持正增长，品牌强度评级维持全球最高等级AAA+。过去十年，五粮液品牌价值提升26.1倍，复合增长率达43.7%，超过全球白酒行业平均复合增速2倍以上。

这些数字背后，是五粮液坚持的品牌叙事长期主义：从马拉松、世运会、世界杯联名等体育营销，到金熊猫奖的影视文化合作，再到《和美声耀》这类音乐场景落地，五粮液正在搭建覆盖体育、文化、艺术、音乐的多维品牌生态。

在酒业时报看来，白酒行业正在经历的深度调整，本质不是市场需求消失，而是需求重构。过去渠道驱动、价格驱动的增长模式逐步退潮，品牌驱动、用户运营驱动成为新主线。谁率先完成从“渠道思维”到“用户思维”的转变，谁就能在新一轮周期抢占先机。

《和美声耀》宜宾首站已经落幕，但它释放的行业信号十分清晰：五粮液要做的，不只是演唱会赞助商，更是消费者美好生活方式的共建者。这条路或许比“买酒赠票”更慢，但走得更长远。

As the baijiu industry enters a period of deep adjustment, almost everyone is asking the same question — “Where have the consumers gone?” As the old path of channel inventory loading grows narrower, Wuliangye has chosen to build a stage in Yibin and answer that question through a mass singalong of ten thousand people.

Not Just a Concert, But a Battle for “Scene Definition Rights”

On September 25, Mid-Autumn night. The Yibin Sports Event Centre’s comprehensive hall welcomed its first ten-thousand-person performance since completion, as Wuliangye, in partnership with China Media Group’s Yangshipin, wrapped up the first stop of the “Harmony and Beauty Resound” star concert. The venue’s attendance rate exceeded 90%, with audiences drawn from Yibin, across Sichuan Province, and beyond.

Yin Song and Han Xue co-hosted, Jam Hsiao performed four consecutive classic songs, and artists including Shang Wenjie, Shui Mu Nian Hua, Fu Xinbo, Hai Lai A Mu, Zhang Xiaowan, and the NAME girl group took the stage in succession. Themed “Three Rivers Mirror the Moon, Blending Harmony and Beauty,” the performance featured chapters such as “Brewing a Bottle of Time — Classic” and “Clinking a Glass of Youth — Enjoyment,” naturally integrating the cultural imagery of Mid-Autumn reunion with brand narrative.

But to view this concert merely as a conventional brand sponsorship would be to underestimate its value.

In the view of JiuYe Times, what Wuliangye is truly doing is competing for the right to define consumption scenarios. In the past, baijiu brands’ scenario narratives were highly dependent on channels and terminals, reaching users through shelf displays, banquet recommendations, and group-purchasing public relations. But in today’s era of fragmented consumer attention, scenarios no longer wait to be “discovered” — they need to be “created.” Whoever can define the context in which consumers raise that glass, and with what emotions, holds the initiative in the next round of competition.

 Why Yibin, Why Mid-Autumn?

Choosing Yibin and locking in the Mid-Autumn slot was not a random scheduling decision.

Yibin is where Wuliangye’s roots lie. The geographical imagery of three rivers converging naturally aligns with the brand philosophy of “harmony and beauty.” Mid-Autumn is also a traditional Chinese festival with exceptionally high emotional intensity, providing a premium emotional connection entry point. The emotions of reunion, longing, and gathering are precisely the most natural catalysts for baijiu consumption.

More notably, Wuliangye fully leveraged its advantage as the “home city of liquor.” The concert was not just a brand event — it was deeply integrated with Yibin’s city cultural tourism. A large number of out-of-town attendees travelled to Yibin, directly driving growth in local dining, accommodation, and transportation consumption. This two-way empowerment of brand event + city cultural tourism allowed the concert’s value to transcend brand communication. Both local government and residents became participants in the brand narrative, and the long-term communication effect far exceeded that of simple advertising placement.

The Industry Is All “Competing” on Concerts — Where Does Wuliangye Differ?

Baijiu brands entering the concert space is nothing new. In 2025, over 20 baijiu brands entered the performance market through hosting, title sponsorship, and deep cooperation, with the total number of events increasing by more than 30% compared to the previous year. Moutai Cultural Tourism partnered with CCTV to create a music art festival, Xijiu exclusively sponsored Dao Lang’s concert tour, Luzhou Laojiao invited singers to perform at its Cellar Master Festival, and Jiannanchun and Langjiu also successively launched sponsored performances in various locations.

But Wuliangye’s implementation path differs structurally from most liquor companies.

Most liquor companies sponsoring concerts rely on a core model of “buy liquor, get tickets,” using ticket scarcity to drive premium product sales — essentially a scenario-based packaging of channel promotion. This approach can drive short-term sales but has an obvious ceiling: audiences mostly come for the stars, the brand is more like the event’s funder, and it is difficult to accumulate long-term mindshare.

Wuliangye’s approach leans more toward content co-creation. Its strategic cooperation with China Media Group began in 2023. Wuliangye joined the group’s “Brand Powerhouse Project,” secured prime advertising resources before “Xinwen Lianbo,” and became the exclusive interactive partner for the Spring Festival Gala and Mid-Autumn Gala’s “Harmony and Beauty Gifts.” The 2025 Spring Festival Gala reached 16.8 billion total impressions. The “Harmony and Beauty Resound” concert is precisely an extension of this long-term strategy into the music scene. The brand is not simply pasting on a logo — it participates throughout content construction, from thematic direction and chapter design to artist selection.

In the view of JiuYe Times, this represents a shift in thinking from “traffic procurement” to “content asset accumulation.” The former is a one-time consumption; the latter continuously accumulates brand value in consumers’ minds.

Baijiu Youthification — From “Slogan-Shouting” to “Providing Scenarios”

The structural challenges facing the baijiu industry cannot be avoided. The 2025 China Baijiu Market Mid-Year Research Report released by the China Alcoholic Drinks Association noted that with the rise of younger consumer groups, baijiu consumption structure is undergoing profound changes, and the industry is facing transformation brought by generational consumer shift. In the first three quarters of 2025, the liquor market sentiment index was only 44.85, falling within the “relatively unprosperous range.”

But “youthification” is easier said than done. Changing product packaging, inviting new-generation endorsers, launching low-alcohol products — many liquor companies have tried, with mixed results. Wuliangye’s first-half 2025 revenue was RMB 52.771 billion, up 4.19% year-on-year, with net profit attributable to shareholders of RMB 19.492 billion, maintaining growth resilience amid industry pressure.

The key is this: young consumers are not refusing to drink — they need a reason and a scenario for drinking that belongs to them. Concerts provide exactly such an immersive scenario. During the several-hour on-site experience, the brand is no longer a forcibly promoted product, but something audiences personally feel. Jam Hsiao’s performance of “Princess” sparked cheers across the venue, and Hai Lai A Mu’s six consecutive songs drove a mass singalong. These emotional peaks are deeply bound to brand experience, creating memory effects far superior to a 30-second advertisement.

Wuliangye is using this practice to answer an industry proposition: the essence of brand youthification is not making young people passively “accept” baijiu, but promoting baijiu’s natural entry into young people’s lifestyles.

The “Slow Craft” Behind a Brand Value of US$27.78 Billion

Viewed over a longer time horizon, Wuliangye’s brand building is a long-term layout sustained over many years.

According to Brand Finance’s *2025 China Brand Value 500* report, Wuliangye’s 2025 brand value reached US$27.78 billion, an increase of 7.3%, maintaining positive growth for nine consecutive years, with brand strength rating maintaining the global highest level of AAA+. Over the past decade, Wuliangye’s brand value has increased 26.1-fold, with a compound growth rate of 43.7%, exceeding the global baijiu industry’s average compound growth rate by more than twofold.

Behind these figures lies Wuliangye’s persistent long-termism in brand narrative: from sports marketing including marathons, the World Games, and World Cup co-branding, to film and television cultural cooperation with the Golden Panda Awards, to music scene implementation such as “Harmony and Beauty Resound,” Wuliangye is building a multi-dimensional brand ecosystem covering sports, culture, art, and music.

In the view of JiuYe Times, the deep adjustment the baijiu industry is undergoing is essentially not the disappearance of market demand, but the restructuring of demand. The growth models of the past — channel-driven and price-driven — are gradually receding, and brand-driven and user-operation-driven approaches are becoming the new mainline. Whoever completes the shift from “channel thinking” to “user thinking” first will seize the initiative in the new cycle.

The Yibin premiere of “Harmony and Beauty Resound” has concluded, but the industry signal it releases is clear: what Wuliangye aims to be is not just a concert sponsor, but a co-builder of consumers’ beautiful lifestyles. This path may be slower than “buy liquor, get tickets,” but it goes further.