Dairy company Chobani has developed Chobani Super Milk, a shelf-stable cow's milk designed solely for distribution during natural disasters and to food-insecure communities. As geopolitical and climate instability grows, crisis-ready products are becoming more important for supporting people. 

Chobani addresses instability with stable milk product

Motorbike rentals are surging in popularity across the globe thanks to favourable cost-efficiency and convenience in the context of both regular commuting and leisurely road trip transport. Changing spending habits are resulting in changing relationships with transport and automotive ownership.

Cost-savvy commuters are turning to motorbike rentals

Meagre wages and demanding work are causing interest in teaching to plummet worldwide, causing acute staff shortages at schools. In Japan, the government has decided to waive graduate scholarship loan repayments for teachers across the country in an attempt to recruit more teachers.

Japan waives graduate loans to tackle teacher shortages

From issues around congestion to air pollution, many Americans have been seeking more accessible and sustainable transport for their commute. Canvas8 polled 1,100 Americans and spoke to ten people to get their views on whether e-bikes and e-scooters are viable alternatives.

Who are the American micromobility users?

COVID-19 has prompted huge shifts in the US interior design industry – suddenly, outdoor spaces, privacy hubs, and colors that boost emotional wellbeing are paramount. How do these demands reflect people’s priorities during the pandemic? And what might they expect at home in the ‘new normal’?

Has the era of open-plan living come to a close?

Despite speculation about a decline in private car ownership across Germany, the COVID-19 pandemic has given rise to an interest in novel forms of in-car entertainment. As people search for safe spaces to socialise and have fun, what's driving them towards in-car venues?

Searching for a safe space: the comeback of cars in Germany

Price is often highlighted as the main driver behind fashion choices. In spite of people’s desire to shop eco-friendly, there’s a high barrier to entry for most ethical brands. Is fashion resale a way to ensure greater eco access, or is the second-hand market causing more problems than it solves?

Will second-hand clothes stay in vogue post-COVID-19?

Besides an August of dining out on the government subsidy, takeaways are a mainstay of pandemic life. These comforting treats aren’t just a break from the dishes, but a way to spend locally without leaving the sofa. So how are delivered meals transforming taste and brand affiliation in the UK?

Why ordering a takeaway became a civic duty

The travel industry has been hit hard by the COVID-19 pandemic, with many people simply not allowed to travel, and others choosing not to. For Australian brand Tripfuser, this presented an opportunity to innovate and meet people’s travel lust with a bubble-based strategy.

Tripfuser: Bubble-based Adventure for travellers

Lockdown has left people desperate to escape and get away for a holiday, but many lack the confidence to take the plunge and book something. Stay Small, Stay Safe’s campaign is stressing their pandemic protection processes to win guest trust and keep them safe.

Stay Small, Stay Safe: Luxury Stays amid a pandemic

The novel coronavirus that began sweeping the globe in early 2020 has made it difficult – and sometimes impossible – to engage in time-honored holiday traditions with loved ones. With no return to normal in sight, how will Americans adapt their celebratory habits for the short- and long-term?

Can the Christmas spirit survive a pandemic?

China may be returning to a state of ‘normality’ following COVID-19, but after spending months in lockdown, certain crisis-time consumer habits seem to be sticking around – one of the most visible being a mass shift to e-commerce. So, how do people want to browse and buy online post-pandemic?

Is social shopping the future of e-commerce in China?

Shuttered for months during lockdown, supermarkets, fast fashion outlets, and all manner of retailers across the UK are set to reopen in the summer. But are people ready to return to the high street? Canvas8 spoke to eight Britons to find out how they feel about shopping post-pandemic.

How do Britons feel about shopping after lockdown?

The widespread closure of brick-and-mortar stores due to COVID-19 has underlined the need for businesses to have effective e-commerce and social media strategies. But how do people want brands to behave in digital spaces? And why are privacy and community so important to online shoppers?

What makes shoppers loyal to an online brand?

As fears of a recession cause purse-strings to tighten, luxury brands are searching for new ways to reach audiences. Having long relied on the in-person experience, how are fine jewellery firms tackling this challenge? And what will HNWIs prioritise when buying high-end accessories post-pandemic?

How will jewellers dazzle HNWIs post-COVID-19?

As the UK emerges from COVID-19 lockdown, public transport capacity is set to be severely limited to reduce the risk of further infection. But is a surge in private car journeys inevitable? Or could the post-pandemic world present a new opportunity to encourage greener, healthier commutes?

Could COVID-19 pave the way for a greener commute?

While takeaways are often a go-to for time-pressed families, they’re not known for being healthy. Medleys is looking to change that, with a food-delivery service that focuses on nutrition but doesn’t compromise on taste – all at family-friendly prices, it’s indulgence without any guilt.

Medleys: kid-friendly, healthy takeaway

Driven by the need to distance themselves from others and adhere to stricter budgets, many Britons are changing the way they shop for groceries due to COVID-19. But while a growing number are ordering online and stockpiling during the crisis, which behaviours are likely to stick afterwards?

Why is the big weekly shop back for Britons?

Panic-buying at supermarkets has made it difficult for many people to get hold of the everyday goods they need. With traditional fulfilment channels stretched by COVID-19, Heinz is embracing a direct-to-consumer model to get its products into pantries with just a few clicks.

Heinz To Home: D2C bundles to fill pandemic pantries

The widespread disruption caused by COVID-19 has forced brands in the luxury sector to rapidly rethink how they connect with customers. With high-end shoppers unable to peruse stores and attend exclusive events, how are labels adapting to stay relevant and ensure long-term loyalty?

How are people connecting with luxe brands at home?

With public resources stretched, COVID-19 has created opportunities for brands to demonstrate their pro-social values. But how are people evaluating their responses to the crisis? Canvas8 spoke to 16 Britons and Americans to learn how brand actions may affect customer loyalty in the future.

What would make people loyal to brands post-crisis?

With Americans adjusting to lockdown life, many have returned to the kitchen, discovering (and re-discovering) ingredients and brands and adopting sustainable habits. Given these behavioral shifts, there are opportunities for brands to lean into people’s newly found discovery journeys.

Americans find joy in new cooking discoveries

In this context, expectations remain high as people come to see door-to-door service and next-day delivery as essential rather than nice to have, relying on infrastructure provided by couriers including DHL and UberEats. But brands are also under additional pressure to tackle the crisis head-on, using their resources to improve the health and safety of their communities, even if they aren’t traditionally associated with corporate social responsibility. It’s why LVMH has pivoted to making hand sanitiser as well as handbags, and why Ford is crafting respirators alongside car engines.

CRISIS BEHAVIOURS

POST-CRISIS BEHAVIOURS

Historically, responses to pandemics have followed a pattern – from initial denial and anxiety to a period of adjustment and, finally, the establishment of a new normal. These stages are mapped against the estimated number of new active cases over time. 

LVMH has repurposed its perfume-making facilities to produce hand sanitiser in an effort to tackle the coronavirus outbreak. As the actions of large corporations come under scrutiny amid the pandemic, the move exemplifies how brands can place social good over revenue. (Mar 2020)

With revenue streams dwindling due to lockdown measures, a number of restaurants are selling branded apparel and gift cards. As well as providing them with a chance to earn during the crisis, these pieces enable buyers to show solidarity with their local community. (Apr 2020)

Lyft is making use of its fleet of drivers to make essential deliveries to vulnerable people. The ride-hailing app is distributing food provided by government agencies to seniors and low-income households and delivering medical supplies to those eligible for Medicaid. (Mar 2020)

Fast casual chain Leon has pivoted to delivering ready meals and has transformed its restaurants into mini-supermarkets stocked by its suppliers. In doing so, the brand aims to provide an alternative source of food for people confronted with empty supermarket shelves. (Mar 2020)

To keep businesses alive during the COVID-19 crisis, bars across NYC are being permitted to sell alcohol to-go, either bottled up or in plastic cups. With people gradually feeling the effects of cabin fever, this once-illegal perk is feeding a desire for relief via small acts of rebellion. (Apr 2020)

Prior to COVID-19, high-end restaurants often didn’t bother with delivery. But closures have encouraged London’s luxury establishments to adapt, creating fine dining menus that will withstand the obstacle course of delivery – from £135 dim sum banquets to £85 sushi platters. (Apr 2020)

EMERGING DEVELOPMENTS

Music has always shone a light on society’s struggles. The 

 was popular among blues singers for decades following the Spanish flu, while during the Renaissance, composers wrote ‘pestilential music’ that reflected on the plagues of the time. 

 In 2020, the COVID-19 pandemic has sparked a similar response from the music industry. With lockdown measures keeping billions of people at home, online media consumption has surged as an alternative to in-person entertainment, and some musicians are already creating with a digital-first audience in mind. For instance, after rapper Cardi B went viral on social media for her Instagram rant about coronavirus, DJ iMarkkeyz produced a trap remix that charted in the US and UK. 

While responding with humour and memes can be useful in keeping collective spirits up, other artists are attempting to spread a serious message around the crisis with their work. Miley Cyrus has taken to Instagram Live to set up the talk show 

, through which she promotes positivity and self-isolation with guests like Dua Lipa, Alicia Keys, and celebrity psychiatrist Dr. Amen. 

 British rapper Psychs, meanwhile, sought to emphasise the importance of social distancing measures through his debut single 

. “We need to actually take it seriously. I’m seeing people going to the supermarket when it’s time for the elderly people to shop or when it’s time for the NHS workers to get there – that’s a joke,” he told 

Just as artists are exploring new ways to reach isolated audiences, music fans are seeking fresh avenues for entertainment, driving a big uptick in the use of TikTok – the digital home of 

 – which reported an 18% week-on-week rise in downloads in the US between the 16th and 22nd of March. 

 Some are even creating their own recordings through 

, a karaoke-style game that encourages interaction between participants and spectators. As fans and artists struggle with the total wipeout of live entertainment, how can online platforms fill the void? And will live-streaming platforms create long-term changes in how people consume music?

As people forgo social and cultural events out of a sense of public responsibility, artists are having to cancel tours and live shows worldwide. “Most managers are in survival mode,” says Adam Webb, a communications consultant to the Music Managers’ Forum. “They're trying to salvage tours and campaigns and stay in business.” 

 With the advent of streaming causing physical music sales to dive, the live circuit has become a key revenue stream for the industry, accounting for roughly a fifth of the UK sector’s contribution to the economy in 2018. 

 In this light, COVID-19 represents a potentially devastating threat; according to data published at the end of March 2020, artists across the UK had lost an estimated £49.3 million in earnings due to show cancellations. 

Recognising this challenge, brands are stepping in to facilitate connections between artists and their audiences. For instance, Twitch has formed a partnership with independent music sharing site SoundCloud, whose members have been fast-tracked to ‘Affiliate’ status on the game streaming platform. This allows creators to stream and, most importantly, monetise their content so they can offset lost earnings. 

 Indie platform Bandcamp, meanwhile, responded with an initiative that waived its share on all music sales for a day, encouraging customers to directly support their favourite artists. 

Live-streaming is a different level of engagement than someone just clicking through. They’re sitting and actually being with that brand or that creator for a while

“Artists are creative and communicative by nature. They have the tools and platforms to reach audiences directly – many of them are doing that quite instinctively, hence the blossoming of live-streaming on Twitch, Facebook Live, Instagram Live, YouTube, and even Skype,” says Webb. “In the current climate, with other avenues shut down, these channels provide their only route to their audience.” 

 Even when avenues reopen, there’s a chance that artists may persist with streaming given that the inherent interactivity can help forge stronger bonds with audiences, which can subsequently lead to a financial boost. “Engagement is so much higher when live-streaming. I think brands are still getting their heads around this, they still wanna see numbers,” says Karen Allen, a digital consultant and author of 

. “Live-streaming is a different level of engagement than someone just clicking through. They’re sitting and actually being with that brand or that creator for a while.” 

Since lockdowns were imposed, a slew of artists have turned to streaming to provide this sense of closeness. RnB crooner PARTYNEXTDOOR ran a special ‘listening experience’ on Twitch for his album 

; Dua Lipa is supporting the launch of her album 

with a stream on YouTube Live; and Charli XCX performed a DJ set on Zoom’s influential Club Quarantine, a virtual nightclub. 

 Sam Spencer, a marketing manager at Atlantic Records, notes how “established formats, such as live-streams within Instagram and Facebook, have seen a dramatic increase in use... Now everyone is vying for fans’ bandwidth and struggling trying to make their live stream stand out.” 

People are craving more immersive entertainment at home

Live-streaming as a tool is in its infancy within mainstream music, but some stand-out successes have given glimpses of its potential. When 

 hosted an in-game set from EDM DJ Marshmello in early 2019, over 10.7 million people watched the Twitch stream in real-time, making it one of the farthest-reaching digital musical gatherings ever. The official 

 that followed has since attracted more than 47 million views. 

While these numbers are impressive, the method of delivery isn’t exactly new. The 2000s provided a clumsy but prescient look at how world-building games might serve as platforms for human connection in adjacent industries such as music. Virtual concerts were taking place more than 15 years ago on 

, with artists and their teams using the platform to build their brand world and connect with fans via an avatar. 

 In 2007, Liverpool’s Royal Philharmonic spent £1,600 on a virtual island in 

 featuring a replica of a concert hall, where the orchestra played to an audience of 100 ticket buyers. 

 “Madonna reportedly drew nine million fans to an MSN webcast in 2000,” says Webb. “The majority of them were probably on dial-up.” 

Previous crossovers between music and video games were much more niche, but with COVID-19 pushing people indoors and just over half of Gen Yers and Zers in the US being signed up to a gaming subscription service, now may be the right time for such endeavours to go mainstream. 

 Influential artists such as the late Juice WRLD and 

 have previously used their work to play homage to gaming culture, with the latter being a regular Twitch user, bringing their fans into their life by streaming play sessions during downtime or sharing unreleased music and insights into the music-making process. 

 having opened an esports division, it’s clear that the music industry is waking up to the potential of cultural crossovers to attract young, mainstream audiences. 

Live interactions can make virtual gigs feel more like the real thing

Allen has her own theory on what’s driving audiences to live-streamed content. “I noticed kids were paying $5 a month for a subscription to one creator on platforms where people are doing the same stuff as on YouTube. I thought what is going on here? I wanted to know what it was about these streams that is sucking these fans in to the point where they want to spend money.” After broadcasting a couple of streams, the penny dropped. “I got it. If it can work for teenagers and for 18- to 35-year-old males on the gaming level... then this isn’t specific to any one category, age range, or race, it’s just human nature. And the basic human nature that’s at play here is wanting some form of community, wanting some sort of connection with people, and wanting to bond over a shared interest.” 

 are driving people to seek this kind of all-access engagement. They want to listen to their favourite artists’ conversations, watch scenes from day-to-day life, and replicate the experience of live music from the safety of their homes. Whether it’s 

 fans lobbying for more songs on Twitter, or Swifties and Beliebers delving into behind-the-scenes stories on Netflix or YouTube, the expectation of intimacy through digital platforms has long been established. “The community that is built around the content is more important than the content itself,” adds Allen. “As long as the community built around the creator is good and interesting, then people will come back.” 

This doesn’t replace the live industry at all. But for the artists who are good at it, live-streaming can play an important part in their social media mix

Yet with 71% of music fans saying that the moments that make them feel most alive are live music experiences, not everyone is convinced that streaming can evoke the same passion. 

 Major labels’ moves into the virtual realm have sometimes yielded underwhelming results. “Maybe in the future, VR concerts will feel much more emotive,” says Spencer, “but there are numerous case studies of VR gigs that artists have tried to pull off in previous years and I think it’s fair to say that none have been a compelling experience for users as of yet.” 

 Allen, meanwhile, argues that live-streaming complements live music, rather than competing with it. “Live-streaming is a different experience,” she says. “This doesn’t replace the live industry at all. But for the artists who are good at it, live-streaming can play an important part in their social media mix.” 

The problem may be that these prior one-offs didn’t truly take advantage of the unique capabilities offered by technologies like live-streaming or VR and instead tried to replicate a passive concert experience. These experiences may prove more appealing if they offer more agency and interactivity, and more of a social dynamic – factors that succeed in the gaming world. Music journalist and researcher Cherie Hu believes that “gaming companies can help music companies implement virtual concerts at scale by providing not just access to captive audiences, but also robust, ready-made infrastructure for social role-playing, coordinated action, interactive content generation, and incremental monetisation.” 

Physical distance has never stopped gamers from engaging with peers

With StreamElements reporting a 66% rise in live-streaming across YouTube, Twitch, Facebook, and Mixer in Italy between the start of February and mid-March, it’s clear that there’s a powerful opportunity for live entertainment brands to reach audiences through digital media. 

 “Live-streaming in music is still quite new. I think it could be much bigger,” predicts Allen. “Twitch has actually hired staff to focus on just music within the last year, so it’s taking quite a big gamble on this. It’s not the easiest category.” 

 Nonetheless, she firmly believes that there’s new territory to explore through ‘freemium’ models that could disrupt conventional music subscription models, which have begun to look quite homogenised. 

 Other businesses are offering alternative ways for music brands to break into the digital space. MelodyVR, for example, allows people to access sold-out live shows through virtual reality headsets. 

Follow gaming’s lead when it comes to community

Savvy artists are recognising how cross-cultural appeal can be beneficial in the long-run, with Grimes, DJ Nina Kraviz, and rapper A$AP Rocky all set to feature on the soundtrack for the highly anticipated game 

. With millions of gamers likely to descend on Twitch to watch streams of the title, these artists and their labels are strategically placed to grab a piece of a coveted audience. 

 When looking at the wider industry, however, Allen argues that pure music players are not doing enough to learn from the gaming landscape. “Spotify is missing a community component,” she says. “If you look at the services in Asia, such as QQMusic, it’s off the chain what they’re doing. It’s more of a lean-in experience. Spotify is more of a lean-back experience and it would do well put in some of those social mechanisms.” 

 One only needs to look at the enthusiasm with which self-isolators have taken to video chatting with friends on Houseparty and Zoom. 

 There’s a considerable appetite for peer-to-peer interaction and brands that foster these connections have a chance of becoming part of post-pandemic routines.

“There is a real opportunity for a brand to come in and curate a channel [on Twitch],” says Allen. “Red Bull has a channel and other content creator brands like that, but there’s a big opening… for someone to come in with content, bands, interviews. Anyone who could book that out, it’s open for them right now.” 

 With the revenues from games live-streaming estimated to have exceeded $5 billion in 2019, it comes as no surprise that many in music are eyeing up the gaming industry’s strategies, acknowledging how a blend of interactivity and professional production could elevate live music online. 

 “There definitely has been a sense of online community within these streams and uplifting content posted of people enjoying the streams in their own homes,” says Spencer, noting the positive role that music live-streaming has played during the COVID-19 crisis. 

How are live music fans getting their gig fix at home?

'Plague, pox and pestilence', Words and Music | BBC Radio 3

'Pandemic pop: At home and around the world, dark-humored new songs about coronavirus go viral', The Los Angeles Times

'Lyrical lockdown: rappers respond to coronavirus', The Guardian

'Miley Cyrus’ newest talk show set to promote positivity and self isolation', Forbes

'Coronavirus quarantine appears to be driving a global TikTok download boom', Music Business Worldwide

Interview with Adam Webb conducted by the author

'Value of UK's live music scene hits record high', The Guardian

'MMF and FAC suggest recoupment holidays to support artists hit hard by the COVID-19 shutdown', Complete Music Update

'SoundCloud and Twitch just made it easier for musicians to monetize live streams', The Verge

'Support artists impacted by the Covid-19 pandemic', Bandcamp

Interview with Karen Allen conducted by the author

'Stream PARTYNEXTDOOR's 'PARTYMOBILE' album f/ Rihanna, Drake, and Bad Bunny', Complex

'Here are all the live streams & virtual concerts to watch during coronavirus crisis (updating)', Billboard

'Charli XCX to perform DJ set from virtual club later tonight', NME

Interview with Sam Spencer conducted by the author

'Why the music industry needs the video gaming industry’s help to scale virtual concerts', Music Business Worldwide

'Second Life hosts world's first virtual concert', The Telegraph

'Digital media trends: Video gaming goes mainstream', Deloitte

'Watch Juice WRLD level up in video game-inspired ‘Hear Me Calling’ video', Rolling Stone

'How dance producers are using video game livestream platform Twitch to connect with fans', DJ Mag

'Live music more important than religion for music fans – study', Ticketing Business News

'Nielsen explains how COVID-19 could impact media usage across the US', TechCrunch

'The four types of music subscription models in 2019', Music Business Worldwide

'Q&A: MelodyVR's Anthony Matchett on how they can help fill a gap during the Covid-19 shutdown', Music Week

'Cyberpunk 2077’s soundtrack features Grimes, Run the Jewels, and more', The Verge

'What’s next for Houseparty, the social video app for the social distancing age?', The Drum

'Livestreaming - a $5 billion+ global phenomenon', Roundhill Investments

With the COVID-19 pandemic causing people to stay at home out of a sense of public responsibility, artists are having to cancel shows worldwide. How are live-streaming platforms filling the void, and could digital behaviours during the crisis create long-term changes in how people consume music?

From Zoom club nights to Houseparty hang-outs, cultural norms have shifted online due to the COVID-19 pandemic. And it’s not just social calendars that have had to adapt, with self-isolation measures forcing employers to embrace remote working on a massive scale. “We are living in unprecedented times. There is no playbook that exists. Leaders need to effectively lead a workforce that is anxious and uncertain,” explains Vipula Gandhi, a managing partner at Gallup. 

 Of course, working from home is hardly new – in 2017, an estimated eight million Americans worked remotely full-time, while 43% did so occasionally – but for those experiencing it regularly for the first time, it’s presenting an array of new opportunities and challenges. 

Pre-pandemic, remote working was more common among people in higher income brackets, with 21% of those in the top 10% of average wages having a flexible workplace, compared to just 1% of those in the bottom 25%. 

 As the coronavirus outbreak has spread, this option is being offered to a wider part of the population, causing a surge in the usage of video conferencing platforms. Indeed, there were an estimated 62 million downloads of such apps between the 14th and 21st of March. 

 However, with research from 2018 finding that only 17% of Americans frequently used video conferencing software, many people may struggle to pick up their new tools. 

 “Although the technology has been available to support more extensive remote working, the adoption rates in some industries have been lower than what could have been possible,” says Gandhi. 

 What’s more, a Gallup poll revealed that just 39% of workers feel their employer has communicated a clear plan of action in response to COVID-19, while just 45% strongly agree that their employers care about their wellbeing. 

As well as dealing with newfangled software, working parents are struggling to balance their professional duties with home-schooling – as of April, 55.1 million students have been affected by school closures nationwide. 

 This pressure, coupled with a need to stay focused while working remotely and a fear of contracting the virus, has the potential to leave many feeling distressed and isolated. And while it’s difficult to predict whether remote working will remain a business staple post-pandemic, it’s clear in the short- and long-term that delivering continuity and enabling employees to continue feeling part of an office community will be crucial for the new working age. So, how can employers ensure their staff feel well-equipped – in terms of both practical and emotional support – for remote working?

According to research conducted by Buffer in 2019, 19% of remote staff said their biggest struggle with working from home was loneliness. 

 Pandemic or no pandemic, this is a key issue for flexible workforces, with staff needing to feel supported and connected when working remotely. So it’s perhaps unsurprising that video conferencing has become a staple in how businesses communicate with such workers, enabling them to connect with colleagues, clients, and suppliers. There are numerous options, with some offering a limited free service, such as Zoom (for up to 100 participants), Skype, Google Hangouts, and 

, which is limited to five participants but allows international dial-ins. Meanwhile, subscription services have additional features, such as the mobile-optimized 

, which boasts high-quality video and Dolby audio. These services have seen a surge of interest due to the pandemic, with 25% of Americans surveying in late March saying they’d used video calls to attend work meetings due to the outbreak, rising to a third among 18- to 49-year-olds. 

, have also seen a sharp rise in usage. The CEO of the latter reported that while it took four years to grow from a million simultaneous users to the ten million mark, the platform added two million daily users over three weeks in March. 

 Jennifer Elias, the director of people and partnerships at online music service Bandcamp, says that her company “now uses Slack all day for day-to-day work discussions, along with non-work conversations about everything from music production to video games and food to fitness.” However, for all the office banter and spontaneous idea-sharing that the channel facilitates, she states that face-to-face communication remains essential: “We encourage everyone to switch to Zoom when the conversation in Slack seems to not be progressing as an in-person discussion usually more effectively resolves the issue.” 

 This is a fairly common sentiment, with 64% of Americans saying that while the internet and phones will be useful during the COVID-19 outbreak, they will not be a replacement for face-to-face contact. 

The value of in-person interaction goes beyond efficiency. For 43% of Americans, the best workplaces ‘promote team building and collaboration’, while 20% say they should ‘foster camaraderie and fun’. 

 While these social benefits are hard to experience under lockdown, some teams have set up digital drinks sessions or lunch breaks, where they can share stories about working from home or celebrate the end of the week together. And in order to boost morale and enhance remote work culture, the San Francisco office of ad agency R/GA held a competition among employees to find the best Zoom background, with entries including the Starship Enterprise and scenes from 

A little face time can help people feel connected while stuck at home

Citing Gallup’s learnings from previous major crises over eight decades, Gandhi notes that employees “need stability, hope, trust and compassion, more so during these stressed times. Leaders need to continue to plan in these ever-evolving situations and share those plans with employees in an authentic, upfront, and effective way.” 

 As well as wanting a sense of compassion and hope from employers, Gallup’s research has found that workers want leadership and clarity. Just 54% of Americans strongly agree that, considering the impact of COVID-19 on their job, they feel well-prepared to do their work, with 48% strongly agreeing that their immediate supervisor is keeping them informed of what’s going on with their organization during the pandemic. 

Any uncertainty among workers is understandable given the unprecedented nature of the crisis, but Elias argues that it’s vital for managers to be in constant contact with their people while the situation is in flux. “We are still formulating advice for managers – so far they are checking in with their teams regularly,” she says. 

 Gandhi similarly states that “leadership needs to be visible even in these times of social distancing.” She goes on to compare the role of a successful manager today to that of a sports coach. “Command and control doesn’t work today due to a combination of factors including job content, degree of collaboration required, and demographic needs… To inspire high performance in our agile and matrixed environments, managers have to deliver ongoing performance-oriented conversations to their team members – much like sports coaches do. Coaches are approachable, personally involved, genuine, affirming, and caring. Coaches are dedicated to the success of the team members and connect the team members to the organization’s mission.” 

Beyond having regular virtual meetings, collaborative tools can ensure that remote workers don’t feel out of the loop with their colleagues and can fulfill their duties. Microsoft’s cloud-based Office 365 synchs and stores files so teams can work together in real-time, and 

 has a user-friendly interface with a free tier that allows users to work on boards or lists. As well as being able to add quick feedback on workflows, it can be integrated into Slack or Google Drive.

Employees are craving a sense of certainty and control in the crisis

Prioritizing employee wellbeing and autonomy

Prior to the COVID-19 crisis, 82% of working professionals said they would want to work from home at least one day a week and 57% wanted to do so three days a week. 

 There are numerous drivers behind this preference, with financial savings among them – a study from FlexJobs suggests that it can save up to $4,000 a year on commuting costs, clothes, and meals/snacks. 

 For some, the time freed up for domestic chores, exercise, and family is hugely appealing. After all, traveling to and from work took up an average of 56 minutes in 2018, equating to 20 more minutes per week than in 2008. 

 Meanwhile, 75% of people who worked at home in 2018 cited ‘fewer distractions’ than being in an office as a key advantage of operating remotely, although home-schooling during a pandemic means that getting some quiet time will be more of a challenge. 

Bandcamp, which has waived sales charges for artists 

, has long supported its employees who are distributed across the globe. According to Elias, the company is adept at harnessing remote working tech and is well aware of people’s needs at this time. “We’ve announced to all staff that we understand that people may be taking care of kids or of family/friends who are ill and that we’ll work with everyone to adjust schedules and flexible time off,” she says. 

While people are keen to achieve a work-life balance, 65% of those surveyed at the end of 2019 felt that this goal was unattainable. Instead, some sought to actively blend work and leisure, and this has certainly become the case for remote workers during coronavirus self-isolation, many of whom are incorporating general wellness practices into their daily routines. 

 and meditation classes to its workers for the past two years. And in response to the pandemic, Bandcamp is holding coffee breaks on Zoom that “work for people in different time zones and anyone can drop in on those to chat,” says Elias. “We’ll be adding some short workshops to those coffee breaks as well, things like a drawing class or other fun hands-on activities.” 

Enforced isolation is revealing tech’s full potential for remote working

A flexible culture creates an engaged workforce

“We expect this disruption to change some of our expectations and behaviors permanently when we find ourselves on the other side of this particular crisis,” says Gandhi. 

 The importance placed upon the physical workplace is one such thing that may be upheaved. With past research showing a widespread desire to work at home, the policies enforced by the pandemic may result in what Kate Lister, the president of Global Workplace Analytics, thinks is a “tipping point” as staff become accustomed to operating outside of the office. 

 Gen Yers and Zers are set to accelerate change as they occupy a growing portion of the labor force. As highlighted in Upwork’s 2019 Future Workforce report, younger gen hiring managers are 28% likelier to utilize remote workers than Boomer managers. “With the various opportunities [Gen Yers have] at their fingertips – freelancing, remote work, entrepreneurship – companies can no longer assume our generation will settle for the status quo,” says Matthew Mottola, a former talent program manager at Microsoft. 

As businesses and employees alike prepare for the long-term ramifications of COVID-19, the shift to working from home may have positive financial implications for recession-hit businesses. Over a third (34%) of full-time workers would be prepared to take a 5% pay cut to be able to work remotely at least some of the time, while 24% would be willing to take a 10% cut. 

 There are additional savings for employers of an estimated $11,000 per year for each worker who spends half their time at home, mainly due to increased productivity, reduced absenteeism, and lower office overheads as fewer people are in at any one time. 

Leadership and communication as important as ever

As people wrestle with uncertainty during the pandemic, they’re looking to businesses to provide guidance and stability where possible. Gallup, for instance, is offering companies help in leading their remote employees during this time, with its 

 webcast series focusing specifically on staff wellbeing. Putting an effective WFH strategy in place is also invaluable – 58% of companies surveyed by Mercer in March 2020 were arranging greater work from home flexibility in response to the crisis. 

 Tech is already playing a major role in helping new remote workers collaborate, both professionally and socially, and video conferencing is emerging as the essential tool for both nuanced discussion and water-cooler banter. By embracing these services and offering transparent communication, employers can maintain some semblance of normality and camaraderie during trying times.

What's the future of remote work in America?

Interview with Vipula Gandhi conducted by the author

'People who work from home earn more than those who commute—here’s why', CNBC

'As businesses shut, how many US workers can work from home?', The Wall Street Journal

'Videoconferencing apps saw a record 62M downloads during one week in March', TechCrunch

'How high can the Zoom share price possibly go?', IG

'COVID-19: what employees need from leaders right now', Gallup

'Map: coronavirus and school closures', Education Week

'State Of Remote Work', Buffer

'Americans turn to technology during COVID-19 outbreak, say an outage would be a problem', Pew Research Center

'‘This was our moment’: Slack CEO Stewart Butterfield on navigating the workplace of the coronavirus', Intelligencer

Existing resources working in surprising ways