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Keeping in mind the growing significance of online reviews, management of responses to the customer reviews – webcare – is becoming important in recent times. How a firm responds to online reviews can send a signal to the readers of the reviews contributing to their brand evaluations. From a strategic perspective, a firm should decide if they should respond to all reviews or respond to only a select few reviews. This study aims to provide an understanding of how exhaustive and selective webcare influence brand evaluations. It also explores the role of review balance and review frame, which potentially act as moderators, on such influences.

Three scenario-based experiments were used to manipulate the webcare strategy (exhaustive-selective) and the potential moderators (review balance and review frame). The 910 participants of the single-stage experiments were identified using an online panel managed by UK-based Prolific Academic.

Exhaustive webcare is found to be the most effective strategy for influencing brand evaluations in all conditions. Also, two interesting results were found, which can have practical implications. A selective negative strategy is as effective as an exhaustive webcare in almost all cases, and a selective positive webcare is as good as not having a webcare in nearly all cases. Changes in webcare effectiveness due to the influence of review balance and review frame were established.

With the review reader perspective and focus on brand management, this study may trigger enquiries into effects of webcare strategies on brand evaluations and other outcomes such as word-of-mouth. The interaction effects of the various strategies adopted together on brand evaluation and loyalty have not been explored and would be of interest to academicians and managers.

Firms need to plan a careful resource deployment while responding to the online consumer reviews as responding to a select few reviews may yield the same effects as that of exhaustive webcare. Brand managers may find responding only to positive reviews futile, as it could be as good as having no webcare. Also, the strategy of responding to reviews needs to be adapted based on the online review platform where the set in which the review is read is different.

This is one of the few studies focusing on the effects of webcare on brand evaluations from a review reader perspective as against the dominant reviewer perspective. This research also presents hitherto unexplored effects of an exhaustive-selective webcare strategy on brand evaluations.

Various literature have contextualised value co-creation concept in the music business and how that notion puts into practice in benefitting the actors in this particular business. The purpose of this paper is to review the extant literature to comprehend regarding the applicability of co-creation in music business which can be used to map and evaluate strategies used to stimulate and exercise co-creation experiences; focus from such co-creational activities; stages during which co-creation occurred; channels in which the music as cultural product is delivered; and the co-creative platform used that can be useful for practitioners as well as scholars in the music business.

Of the available academic databases that exist on the online platform, this study takes into account six scholarly databases, i.e., Emerald, EBSCO, ISI Web of Sciences, ProQuest, ScienceDirect and Scopus.

Having filtered through the initial 113 papers that fulfil the predetermined criteria, this study discovers 33 empirical journal and proceeding papers that have discussed the co-creation concept in the music context from 2011 to 2017.

The review practically implies that practitioners as well as scholars in the music or marketing field can first begin with planning and understanding the right strategy, focus, stage, channels and platforms before executing co-creational activities in the music business. This paper also speaks to the broader literature, particularly in the creative industries, that value co-creation can serve to be used to obtain monetary, experience or social value in the market using virtual and physical co-creative platforms. Other sectors in the creative industries can also infer that co-creation can be promoted and exercised through various orchestration strategies in several stages of the value chain.

This paper is the first to integrate five practical criteria as to how co-creation is applied and contextualised in the music business. It also contributes to the academic literature by presenting an exhaustive selective review of the value co-creation concept and its applicability to the music business.

This study aims to present a state-of-the-art review pertaining to the topic of multi-actor innovation in the music industry. Because of the changing nature of the marketing paradigm from product dominant to service dominant, as well as the emerging paradigm of open, collaborative and co-innovation, this study attempts to integrate and map the previous papers that have examined the concept of multi-actor innovation in the context of the music industry.

A systematic review is carried out to produce the analysis. Various scholarly articles from well-known databases are taken into considerations in this study. These papers are then classified based on the types of innovation, category and sub-category of innovation, value capture and value creation, as well as its general characteristics. This classification is primarily aimed at mapping the development of previous studies in the current field and examining the current research gaps to propose future research agendas.

Previous researchers have shown that innovation concepts have been developed into various streams, namely, closed, open, collaborative and co-innovation. In addition to this point, the debates regarding the consumers’ roles in the market have pinpointed that innovation also calls for more participative forms rather than isolated. Nevertheless, discussions that pertain to open, collaborative and co-innovation in the context of the music business, have still been lacking and, therefore, demand more explanations.

This study is the first to present the topic of multi-actor innovation in the music business to the scholarly literature. Based on the review carried out in this study, scholars that are particularly interested in the field of open, collaborative and co-innovation within the context of the music industry can comprehend the development of previous discussions and, therefore, justify future research agendas.