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秦时丽人明月心不装人的它，为何能一把融6亿美金？_我的网站
A |  Elliot James Reay could have copied every other Western act and sung a Taylor Swift cover. Instead, he took 1950s rock'n'roll to a live TV show where autotune is switched off and discovered a version of fame that Britain has forgotten. Elliot James Reay was traveling in the US, trying to finish a song, when his manager called. There was an invitation to join Singer 2026, a prime-time live music show in China. Reay didn't hesitate. He had traveled the world before he was a full-time musician, but had run out of money before reaching China. "I went everywhere but China," he said while sitting for an interview with the Global Times, sitting in the office of his label in Beijing, from which the Palace Museum can be seen not far away. Reay is, in the West, a very 2020s kind of artist. He began posting short covers on short video platform TikTok in 2019; during the UK Covid lockdown, he chose to focus on growing his fan base. He now has millions of followers across platforms, and his debut single notched 10 million views before it was even released. In the British industry, this is both a leg-up and a trap. "You can have all the followers," he says, "but they don't guarantee people will buy tickets." In China, that equation flipped.  Nervous again The Chinese show, Singer 2026 is broadcast completely live, with no pitch correction. For Reay, who had played enough small gigs to feel comfortable in his own skin, it was a shock. "I haven't felt nerves in a long time," he says. "But I've never been in a competition before. To have my singing judged against other people made me really nervous." He watched Week One's performances from the wings and saw why. "The standard was terrifying," he says. But the format, he admits, is something the UK no longer has: a televised singing contest that treats vocal ability as a public event, not a pre-packaged product. "It made me feel like I just started my career again." Reay's lane is retro. Not as pastiche, but as lineage. He wears the silhouette of Elvis Presley, sings in the grain of 1950s pop, and writes songs that sound like they were cut from a Sun Records demo. He could have sanded it down for Chinese audiences, but he didn't. "Someone has to start the wave before you can see it," he says. Among the songs he performed were "Unchained Melody" and his original track "I Think They Call This Love," which he co-wrote with his girlfriend. He points out that the Beatles still sit next to Taylor Swift on the radio, and that pop started in the 50s. "It's the foundations of pop," he says. Learning to feel the words In the final, Reay performed a bilingual version of the Chinese song "Hou Hui Wu Qi" (The End of the World). It was his first time singing in another language. He spent five days learning the Chinese lyrics, listening to the original on loop. "There are sounds in Chinese we just don't have in English," he says. "I couldn't hear the difference at first. I'd say it, and Helen (his translator) would say, 'No.' I thought I was saying the same thing." Eventually, he stopped trying to hear it and started trying to feel it. "It became more about how it felt to say it. How I place my tongue in my mouth," he says. He didn't understand the meaning until day three. "Helen gave me a card with the Chinese characters and the English translation. It's very poetic," he says. The performance received a strong reaction, with it being called an attempt at "cultural fusion." He had saved his own original, "I Think They Call This Love," co-written with his girlfriend, for the same final. He had held the song back deliberately. "I knew that any week was my last week," he says, "but I knew that if I made it to the grand final that I had to do it then." He had no idea it would become the last song of the entire show. When he finished, he walked straight off stage, took his girlfriend's hand, and the two of them left together, a moment that trended on Chinese social media that night. The song is about the exact point they realized they were in love; it was also the first track of his career he fully believed in and pushed into the world. Having her there to watch it live, after weeks of her only seeing performances on a phone in a hotel room, "tied the whole thing in a bow at the end." A touring musician, not a TikToker Reay is open about the tension between his origin story and his ambition. "I don't want to be a TikTok celebrity," he says. "I'm a musician. I want to tour." The platform gave him an audience, but it also boxed him in. He remembers friends who wrote incredible songs during lockdown, while he chose to build a fan base. Now, he says, some of those friends have had to stop writing and make TikTok videos instead. China, he says, gave him permission to be both an online creator and a live performer. Universal Music, his label, didn't push him to chase trends. "They never said, 'Do this, do that,'" he says. "They supported what I wanted to sing, and then they made it the best version they could." Before Reay, a string of international artists had already found warm receptions and career-shifting opportunities in China. Kazakhstani singer Dimash Kudaibergen, Malaysian star Shila Amzah, US country artist Mickey Guyton, British vocalist Jessie J, and French singer-songwriter Joyce Jonathan all won large Chinese audiences through high-profile television appearances and live performances, each using the platform to open a new chapter in their careers. He's already planning a return. He wants to bring a tour. He wants to buy the traditional instruments he saw on set and take them home to England. "I'm going to learn how to play them," he says, "and maybe put them into my music." The advice he'd give other Western artists looking East is to stay loyal to yourself. "Be yourself," he says. "It's very easy to want to change yourself to fit into a market, but at the end of the day, if you stay true to yourself, you'll be happy." "In the UK, I felt like I needed to do other things to make other people happy," he says. "If I hadn't stopped doing that, I wouldn't be sitting here. I wouldn't have done the show. My whole journey would be different," he says. 。 单轮次6亿美金，刷新了自动驾驶赛道（L4）融资记录。不过这次不再是载人出行（RoboTaxi），而是城市物流（RoboVan）。 10月23日，中国也是全球的L4级无人城配龙头公司，新石器公司（Neolix）正式宣布完成逾6亿美元D轮融资。
B | 以金额计，这笔融资是迄今为止中国自动驾驶领域最大的一笔私募融资，也是今年内中国私募领域最大的融资之一。 根据官方信息，本轮融资由阿联酋磊石资本（StoneVenture）领投，并由高成投资、信宸资本（中信资本旗下）、鼎晖VGC、朝希资本、北京市人工智能产业投资基金及某大型互联网公司重磅联合领投。
C | 关于融资的用途，新石器创始人兼CEO余恩源表示，融资将持续投入算法和技术研发、新产品开发以及完善服务网络，以满足国内外城配市场的旺盛需求。 2025年初以来，以L4级无人城配（RoboVan）为代表的无人物流赛道累计吸金已超40亿元人民币，头部企业纷纷获得重磅加持。新石器今年2月，其实已经完成过10亿元C+轮融资，另一家无人车龙头九识智能上周刚完成4亿美元B轮融资，白犀牛在8月下旬完成5亿元B轮融资。 无人城配行业为何能够在2025年进入资本的爆发期？本期《智驾雷达》VOL.8，我们为你来解析一下这背后的行业真实趋势。 L4技术，在城配场景持续爆发 纵观无人城配行业2025年的资本面，之所以这么疯狂，最主要的原因是创业公司的技术与商业模式在诸多环节中都表现出了相当的成熟度，以至于其商业价值已经开始显现，形成了不是“融资在赌市场，而是市场需求在推动资本抢机会”。 余恩源在采访中特别提到了这个转变的过程：“从2022年开始，我们和多家物流公司开始试点无人车项目……到了2024年底，我们和客户都确认了一个事，无人车对于物流配送的降本是可以达到1/3甚至2/3以上的，同时效率还有所提高，于是市场需求开始爆发了。
D | ” 就拿今年业界透露出来的几个数据为例： 中通快递在2025快递物流新质生产力论坛上透露，其无人车保有量已超1800台； 顺丰在年报中披露，无人运输领域投入运营的无人车达1800台； 近期，中国邮政的7000台无人车租赁集采项目也刚刚落下帷幕。 这些快递物流公司已经开始大规模购入无人车的原因，是无人车已经正式进入了帮助客户省成本的阶段。 根据亿欧智库发布的《2025中国L4智能驾驶场景商业化发展洞察报告》，无人车的加入可以大幅改变物流城区配送的工作流程：削减两个多余流程，减少末端面包车、三轮车、司机和送货员等资源投入。保守估计下，已经可以节约19%的环节成本。 而这还是满负荷场景下的对比，假如客户的需求是短时的运力，无人车的潜在成本削减还能进一步降低。因为机器是最好指挥和匹配的，完全可以通过统一的平台来让车队响应终端客户发起的需求。 值得注意的是，目前无人车企业们还在持续推动产品层面的降本，其中一个最重要的手段，就是规模化，也是各家推进融资的最重要原因之一。 新石器CEO余恩源今年早前在采访中透露，“每台车成本降至10万元以内”、“每天就能交付40台（相当于年产能已经过万）”。
E | 而另一家无人车龙头公司，从去年开始则推出了“硬件价格+软件付费订阅”的新收费模式，让车辆本身的“价格”直接下探到了5万元级。 无人车的战事，还远没有结束 从目前的种种信息来看，在物流城配巨大需求的支撑下，2025年已经注定成为“无人物流车元年”，但在看来，接下来行业中的战事仍将围绕三个核心点展开： 谁能在L4自动驾驶技术、无人车产品上更领先； 谁能够触达最多的RoboVan使用场景； 谁能够最大程度平衡好自身成长与服务客户之间的关系。
F | 此次融资新闻发布时，新石器还顺便“透露”了其自主研发的L4级无图自动驾驶技术方案已开始商业化交付，并在小范围应用，相当于实现了RoboVan领域的“全国都能开”。 根据官方介绍，这套技术方案背后采用的是“视觉-动作”基础大模型“Neolix-VA”（乘用车行业中也有这种路线，也有中间环节加入大语言模型的VLA）。官方表示基于这套技术方案，RoboVan可以能自然融入复杂交通环境，高效、平稳地完成配送；可满足城市公开道路场景任意点到点的物流需求，以及全球化需求。 与RoboVan自动驾驶解决方案配套的，还有L4无人配送“全域智能调度中枢”，可以实现“车辆-路网-订单”的动态最优匹配，得以打造“低成本、高时效、可规模化”的运力运营体系。 在场景方面，目前各家无人车企业都已经形成了模块化设计的“产品矩阵”，从各种小型/微型快递型车辆，到中型货运型车辆以及较大型的轻型商超或冷链运载车辆，可谓是应有尽有。 但目前在成本核算上，部分场景仍无法实现“城配”中的大幅降本，并且绝大部分运输场景早已被各种物流公司、运力平台占据。目前各家无人车企业普遍都采取了和物流公司绑定的策略，例如中通快递，顺丰速运和中国邮政这样的快递物流龙头，在提供现有通用解决方案的同时，未来大概率还会结合各家的需求进一步拓展应用，例如与各家的冷链配送相结合。 除了国内横向的场景拓展之外，试水海外也在成为一个重要的趋势。 新石器此次之所以能够获得阿联酋磊石资本（Stone Venture）领投，最大的原因在于新石器无人车在阿联酋拿到了全球第一张正式颁发的公开道路无人车牌照。
G | 新石器规划明年底争取在阿联酋范围内达到5000台无人车的部署规模，到2027年，海外市场能达到5000到10000台的年销售量。总量虽然不大，但整体意义重大。 最后是关系的拿捏，物流行业中的企业从来没有放弃自己研发、应用无人车，例如京东、美团都曾进行过相关尝试。无人车企业目前来看，终究与实际用户，实际物流需求的产生隔了一到两层，就是这一段距离，已经足以影响其对于整体业务的掌控能力。尤其是在满足了最简单的快递城配，无人车企业应该如何单独运营自身的运输能力，又该如何平衡与老客户之间的关系，必然会成为一个考验。 可以肯定的是，无人车行业目前还在持续狂奔的过程中，一来国内光是城配这个场景的需求都远远没有彻底释放，二来更多场景的发掘还将不断提供新的需求。
H | 一个重点的趋势是从“计划性物流”拓展向“即时性物流”，余恩源采访中提到了两个：“快递行业用车数量不到100万辆，城配商用车市场规模大约是3000多万辆。” 为了能够更广泛地接触到即时需求型客户，新石器今年开启了与滴滴货运的合作。双方在青岛试水无人车送货业务，用户通过滴滴平台下单时，能够选择由新石器无人车负责货物运送服务。 在余恩源看来，明年快递行业仍会保持高速增长，但城市配送和即时物流场景更为关键。
I | 这两个方向的进展能否反超快递，将成为新石器能否在未来2-3年实现10倍速增长的关键”。 但需要特别注意的是，正因为无人车行业基础技术的通用属性，以及行业高速爆发的商业潜力，越来越多的玩家还在“跑步进场”。就在上个月，国内汽车行业知名Tier 1德赛西威旗下品牌“川行致远”就在品牌亮相的同时，带来了实际的无人车产品和全新的应用场景。 可以预见，无人车赛道所面对的，将会是一场在产品形态、应用场景、客户生态，全球市场多层级混合竞争的业态，如何在这个过程中保持自身的生存，并且服务好各个层级的客户，将会是每一家无人车企业的终极考验。 文章标题：不装人的它，为何能一把融6亿美金？ 文章链接：https://www.huxiu.com/article/4796204.html 阅读原文：不装人的它，为何能一把融6亿美金？_网。
J | Current article:http://www.zuanniangwandangliaolinechu.sbs/list_tl09/sdgr.xls Published on:10:20:22 |
