This is a qualitative small-scale case study of Cercle and Boiler Room through audiovisual semiological analysis aiming to analyze livestreamed music events in the post-pandemic world. It adheres to the Interpretivist research paradigm, assuming the constructionist epistemological position, the idealist ontology, and the inductive logic of inquiry. The research design utilizes a problem sampling strategy, a flexible/imaginative sampling strategy favored by the adaptive research approach working with purposive/non-probability samples for the selection of empirical material, which is video content published on Cercle’s and Boiler Room’s respective YouTube channels. The audiovisual recordings are analyzed via textual analysis of media texts inspired by the Saussurean semiotics of Roland Barthes in a theoretical as well as methodological manner in order to look into the way how is meaning in the post-pandemic livestreamed music produced by Cercle and Boiler Room. The analytical framework is then enriched by platformization, remediation, and liveness in an attempt to assess the contribution of these concepts to the evolution of music livestreams. The tentative conclusion is that while Boiler Room continued in their remediation of the nightclub, as previously researched by Heuguet (2016), Cercle found a way to keep their unique concept of using special contexts/surroundings even in the post-pandemic world. Future research may benefit from analyzing such videos streamed live instead of their recordings, using a different mode of their observation (e.g. video elicitation), or adding an ethnographic dimension by conducting interviews/focus groups with the livestream producers and/or consumers.