sign in sign up
<<
Home , Sleep Well Beast, The Cribs, Time to Give

05–06 Tools ToneDen 07–08 Events Sandbox Summit 09–10 Campaigns The Academic, DJ TOKiMONSTA, Dani Cohn, Michael Jackson 11-15 Behind The Campaign-

OCTOBER 12 2017 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 189

DIRECT-To-CONSUMER GETS CRANKED UP ere sandbox presents five recent examples of D2C retail in the music Hindustry: campaigns that managed to do something genuinely inventive and also make money, with the idea of inspiring best practice in this vital part of the industry.

The National

When 4AD started discussing campaign options around The National’s seventh , Sleep Well Beast, the label was told that in the US the band were looking at ‘forced bundle’ options, whereby people receive an album download when they buy a ticket for a live show. The indie’s office decided to investigate similar options for . In the end, 4AD decided to offer fans access to an exclusive Songkick pre-sale for tickets to the band’s forthcoming DIRECT-To-CONSUMER GETS CRANKED UP European tour if they pre-ordered the album on CD or LP via a chosen retailer. “We wanted to use the demand for tickets to drive the album pre-order across Europe and get numbers on the When the concept of direct-to-consumer (D2C) retail first hit the music industry in the mid 2000s, it was board towards high chart positions,” explains 4AD head of digital marketing, seen as revolutionary, giving bands and labels the opportunity to sell goods directly to their fans online, Will Tompsett. just as traditional record sales were starting to tank. These days, while the concept is rather less likely “We were able to announce a huge tour alongside the album, so wanted to to ruffle feathers in the boardroom, D2C is arguably more important than ever, a vital part of any band’s use that ticket-buying audience to drive revenue stream and a way of driving both fan engagement and chart positions. chart-eligible album pre-orders straight out the gate across Europe,” Tompsett

1 | sandbox | ISSUE 189 | 12.10.2017 COVERFEATURE

At The Drive-In

“D2C has always been a huge focus for Rise Records, across our entire roster,” Rise Record’s head of Europe Clare Maxwell explains. “Rock fans are collectors, they like physical products and investing in their favourite artists, so we like to make sure we can offer them something special in our campaigns.” When it came to the May 2017 release of in•ter a•li•a, the first new studio album in 17 years from At The Drive-In, the label’s D2C strategy proved especially extensive, with bundled deals for the album including everything from skateboard decks to socks, [plus Songkick’s user reach] was driven to jewellery, T-shirts and a limited-edition a custom splash page built by Songkick, customised Axiom reverb pedal, which hosting the tour dates and details about came as part of the now-sold-out €349.61 our offer: if you pre-order the album in “Mega Bundle”. Fans could also buy the a three-day window via this link, then album on its own from the band’s online you will get exclusive pre-sale access store (which is powered by Music Glue) to The National’s European shows. We in the form of a download, CD or three also included a No Purchase Necessary different coloured vinyl editions. adds. “We partnered with Songkick signup, which was a stipulation to ensure “For At The Drive-In, the band lead the for the live side and then identified that any sales would be eligible for week- ideas,” says Maxwell. “They delivered us a chart-eligible retailers in eight different one scans.” wish list of items they’d love to be able to territories where the band would be When users clicked the link to pre- offer fans and we made it happen. When touring.” order from this page, they were directed this passion, interest and involvement In the UK and Ireland, 4AD worked to a specially branded 4AD store page comes direct from the band who are the closely with Sandbag, which powers the that was powered by Sandbag or one of creators of the record you’re selling, you 4AD label store, while local 4AD offices the local retailers. The link was geo- know it’s going to be special.” around Europe identified partners targeted to ensure the user journey was Maxwell explains that many of the they wanted to work with. “Sandbag as simple as possible for fans and they items the band offered for sale were the isn’t chart eligible in some of the other weren’t party to any of the moving parts product of long-standing desires. “A lot of countries the band were touring in, so we at the back end. it was things the band and Cedric [Bixler, decks with the art on it. There was a lot of worked with a specifically chosen local The result was huge chart success for vocalist] have wanted to do for quite some energy put into the shape of the deck from retailer in Germany, Portugal, Sweden, The National, who landed their first ever time,” she says. “It was fun to explore all Cedric, or the specifics of the pedal from Norway, Belgium and the Netherlands,” #1 album in the UK, Ireland and Portugal, possibilities and put in a little extra effort to Omar [Rodríguez, guitarist] and so on. It Tompsett explains. as well as their highest chart placings end up with some really cool collaborations, was a truly special and unique campaign.” “On the user side, all album to date in Germany (#4), Belgium (#2), whether it was the pedal or the deck. Maxwell says that the response from messaging on socials, ads and mailouts Netherlands (#3) and Sweden (#2). Additionally, they weren’t just pedals or fans was strong, with the album peaking

2 | sandbox | ISSUE 189 | 12.10.2017 COVERFEATURE at #30 on the UK’s main charts Arcade Fire and reaching #1 on Britain’s dedicated rock and metal albums chart. “Fans absolutely loved what we offered and many of our items sold out within the first few days,” Maxwell concludes. “Especially our limited vinyl colour..”

Shawn Mendes

The relationship between Warner Music’s One of the great things about D2C is Artist Services division and Shawn that it allows bands to offer the kind of Mendes shows how deep the connection customised merchandise a local record between artist and label services teams shop would never have the capacity to can run. Mendes signed to WM Artist stock. Take Arcade Fire’s recent album, Services aged 15, before he even signed Everything Now. The album’s artwork a recording deal with Island, and Warner unique route, setting up the Shawn show Q&A with Mendes, access to the features a photograph of an LED sign has worked with him ever since. Mendes VIP Experience Museum onsite soundcheck, a signed poster and a VIP bearing the album’s name in the desert One of WM Artist Services’ key at concert venues. The museum housed laminate; while the top-tier VIP package and the band wanted to offer multiple D2C offerings are VIP Fan Services: everything from guitars that Mendes added on a personal meet and greet and versions of the album, each with “VIP experiences that these loyal fans had played on stage, to costumes from a photo with the singer. individual artwork, showing the album will never forget.” These can include previous tours, awards, photographs, WM Artist Services says that since title illuminated in different languages at everything from a soundcheck party with artwork, branded merchandise and a it created the Museum, it has been different times of the day. The Flaming Lips to a “tour bus hangout” replica of the car used in the video for his visited by 25,000 fans in more than 20 To fulfil this, created 22 with Wiz Khalifa. For Mendes’ recent single, ‘Mercy’. countries. It is an experience that is likely different limited vinyl editions of the Illuminate tour of Europe and North The standard VIP package for the tour to have proved financially rewarding, album to sell though the band’s online America, WM Artist Services took a rather included a tour of the museum, a pre- too – VIP tickets for Mendes’ forthcoming store: standard ‘Day’ version, coloured Australian tour, which does not include ‘Night’ vinyl with different packaging and the museum, are selling for AU$130 and 20 further iterations with the album title AU$390, without concert tickets. in different languages, as well as two CD editions (‘Day’ and ‘Night’) and a cassette. These were available individually and in various bundles, including a £55 All Day All Night bundle that included two CDs, two records and a cassette, and a £32 Day and Night bundle that includes one CD, one vinyl and one cassette. Sony says that there was an “incredibly positive fan reaction” to the customised releases, with the limited-edition ‘Night’ CD and vinyl selling out. The album sleeves printed

3 | sandbox | ISSUE 189 | 12.10.2017 COVERFEATURE

$160 with three lithographs). Perhaps most interesting, however, is the Capitol Records Lego set, which recreates the label’s classic Capitol Records Tower HQ. The $200 set features more than 640 pieces, including rare re-packaged Lego and custom 3D components designed by freelance artist Adam Ward. It is the kind of fervent fan object that is perfect for D2C; a niche purchase that will appeal to Capitol fans but might be difficult to place in a traditional physical retail structure. :)

Capitol Records It’s not every day that a passes its 75th birthday, so it is no surprise that Capitol decided to push the boat out in 2017 in recognition of this particular milestone. The label’s birthday plans include the development of a Capitol Records docuseries, planned for release in autumn 2017; a massive vinyl reissue programme, which takes in 75 of the label’s classic albums; and the publication of a deluxe photograph and essay book from art book publisher Taschen – 75 Years Of Capitol Records. The label’s Capitol Goods D2C site plays an important role in the celebrations. While US furniture store Crate and Barrel is selling the vinyl in various languages were also used in numbers. The album generated 7.8m reissues, Capitol Goods has a dedicated international marketing materials. streams in the US in the week of release, 75th anniversary page where fans To drive D2C sales in the week compared to 45m for Kendrick Lamar’s can peruse and buy all of the 75th preceding album release, Sony also Damn. anniversary products, serving as an offered an album/ticket bundle for But 94,000 US sales – equivalent to online retail hub for the anniversary. The Everything Now, which helped to drive 141m streams – in its opening week were vinyl reissues are on sale for $24.99 each, the album to the top of the US album more than enough to clinch Everything alongside a Capitol Records sweatshirt charts, despite relatively low streaming Now the #1 slot. for $60 and the Taschen book for $150 (or

4 | sandbox | ISSUE 189 | 12.10.2017 TOOLS TONEDEN

For SaaS (software as a service) companies focused on marketing, the quality of the pitch is nearly as important as the potency of the product. Unlocking new segments of customers can be as simple as showing off ways a platform can meet specific needs, rival already- used tools or reduce overall costs.

The best pitches focus not on where competition is fiercest, but rather where the potential revenue and perception of differentiation are highest. Enter ToneDen, a California-based marketing, engagement and e-commerce platform that has been operating for years, boasting a customer base of over 750,000 creators, businesses and brands. Having undergone a recent redesign, this platform is coming out swinging with improved features. first-party data collection. platform’s campaigns. Another noteworthy The growth tool with the largest possible ToneDen’s pitch is simple: the platform Going through ToneDen’s client and case differentiation held by ToneDen is its US audience is ToneDen’s Lasso, which adds helps users build campaigns that provide studies list, this is largely ticket sellers, base, which means data capture from a simple, automated pop up to websites consumers with a high incentive to engage, promoters and venues, in addition to ToneDen campaigns will generally be held that allows fans some sort of deal in tests creative and copy of multiple ads at labels – many of whom describe running under the US’s more business-friendly user exchange for connecting their social media once to optimise down to the most efficient their first major online ad campaigns data legislation as opposed to the EU’s or Spotify account, turning anonymous ads; it captures fan data on the back of through the platform. This focus at high- privacy-preferred laws. online browsers into a customer that can these engagements, builds retargeting and value-physical sales (tickets) may prove ToneDen divides its products into be retargeted. lookalike audiences, and then automates advantageous to ToneDen in the long run, two categories: for building and growing This Lasso widget forms the basis of continued ongoing marketing. as ticket sellers have proven much less audiences; and for engaging and selling to ToneDen’s other growth-based tools, social sandbox has previously covered Make likely to develop internal tools for data audiences. unlocks and contests/giveaways. Social The Link – a France-based SaaS company capture and marketing automation than As building audiences take all sorts unlocks give fans a download after they with a similar offering, aimed at labels as labels. of tools, ToneDen has created a series of have connected a social media account. major clients. ToneDen’s offering is largely ToneDen also has built extensions widgets, web apps and other tools to assist Meanwhile, contest/competitions through similar, but its approach to clients is aimed into Eventbrite and other ticketing marketers on this front. Each of ToneDen’s ToneDen work by letting participants at a slightly different market: mid-level platforms to allow the full breadth of DIY tools also has its own analytics and earn more entries to the competition by marketers who are looking at growing their to professional ticket sellers access to the insights tab within the user dashboard. attaching more social media accounts and

5 | sandbox | ISSUE 187 | 13.09.2017 TOOLS TONEDEN

taking actions – which can extend through ToneDen offers tiers priced at free, $50 following profiles and playlists and saving per month basic, $100 per month pro, and songs on Spotify. higher-priced elite enterprise tier. All tiers bundle, tickets and meet & greet passes. Also worthy of note is ToneDen’s in- of ToneDen accounts have the option to Based on how many actions (follow platform smart-link feature, which allows add team members to campaigns via team accounts/playlists on Spotify, likes on users to track all of the traffic surrounding accounts. Free-tier use offers access to the Facebook, saves to Spotify library and so on) their campaigns within the ToneDen Lasso and Social Unlock tools, and limited fans took along this campaign, they are being dashboard in a similar way to Linkfire/ access to Giveaway/Contest Campaigns retargeted and encouraged to complete the SmartURL. and Fanlinks. additional calls to action as the band’s album ToneDen’s features for engaging and At $50 per month, users unlock the release tour is now well under way and selling to audiences differentiate the ability to use all of ToneDen’s tools minus driving more sales and streams. platform from tools that only focus on data the Facebook ad platform, and are capped Childish Gambino’s team did a promotion capture. ToneDen’s automated Facebook at messaging 15,000 fans before paying through ToneDen that resulted in the capture advertising allows users to input as many more. The $100 per month tier opens up of 11k emails, 6.5k Spotify account and different pieces of creative into an ad as the use of ToneDen-run Facebook ads, with playlist subscribers, 6.4k Spotify collection they like; then ToneDen will funnel spend ad spend capped at $1,500 per month and saves for his entire album, 6.4k YouTube into the best-performing advertisements messaging to fans capped at 50,000 before subscribers and 5.4k Facebook likes – all after testing them to a sample audience. paying more. With this pricing structure, from a single promotion. In addition to running Facebook ads, ToneDen can fit into the budget of many Other examples of use have included ToneDen has built in email and Facebook campaigns that would have a high-value the musical Hamilton’s marketing team Messenger bot marketing tools as well, offering – a vinyl bundle, tour tickets or a as they’ve launched their national tour, to help marketers reach fans inside and music festival, for instance. music festival Lightning In A Bottle and outside of social media platforms. Rise Records act PVRIS recently Underrated Presents. Lightning in a Bottle When evaluating pricing of ToneDen, primarily by showing overall spend next to began marketing through ToneDen in claimed a 35% reduction in customer the platform presents the overall amount overall revenues, with views of percentage a campaign which revolved around a acquisition costs, and Underrated Presents spent on ads and platform usage alongside ROI and the amount of money brought in Spotify pre-save campaign with the claimed a tripling of ticket-selling efficiency the results in simple-to-understand ways – on every dollar spent. incentive to win a signed merchandise through A/B testing of ads. :)

6 | sandbox | ISSUE 187 | 13.09.2017 EVENTS SANDBOX SUMMIT

a free element, is you’re addressing more casual consumption,” he said. “You can pick up all these people, and those sorts of insights are really useful. And the platinum example for that is YouTube… and at the bottom you’ve got Apple, who kinda give you nothing.” Andrews called for streaming services to release more data to managers rather than forcing them to go through labels and distributors to get everything they want, and she also requested more data for playlist curators. “As a playlist curator, if you put a track at number three in your playlist and no one wants to listen to it, that’s data you need to know. So tools for curators maybe should be YouTube royalties alone is a poor strategy: looked at. But it goes back to a data access in fact, for every pound AEI Group makes issue,” she said. on YouTube, it makes £10 elsewhere from ticket sales, premium subscription Vilifying YouTube streams and other income that he feels is may be fruitless driven partly by YouTube. Music Ally’s inaugural sandbox Summit Hemmings and Music Ally’s Wesley T “The value is in taking that audience from conference in London this week put digital A’Harrah came up with a wishlist of AEI Group founder Diluk Dias didn’t mince YouTube and driving it somewhere else. It’s music marketing under the microscope marketing-focused features that they’d his words when asked about the ‘value gap’ sitting there in plain sight,” he said. with a mixture of speeches, panels and like to see streaming services launch. debate around YouTube, music royalties and interviews. Here are some of the highlights That included much more powerful safe harbour protections. Big playlists aren’t of the day-long event, with plans to hold a ad-targeting features – the ability to build “I am getting pretty fucking bored of the always best second in New York in Spring 2018. and then market to custom (or ‘lookalike’) vilification of YouTube. It’s like moaning audiences as they can on Facebook. about the weather or moaning about Brexit,” The industry could worry a bit less about Marketers’ wishlists Hemmings said that Spotify could take he said. whether new tracks are making it onto for service tools a leaf out of YouTube’s playbook when it “We are living in a time of abundant Spotify and Apple’s big ‘new music’ playlists, comes to analytics, too. opportunity and tech companies are putting and spend more time identifying smaller The concluding session of sandbox “I’m much more interested in the data I music front and centre… To succeed in the in-house playlists that could have a bigger Summit was one of its sparkiest can get out to learn and apply on a broader music business, you need to think like a impact for their artists. discussions, as Deviate Digital’s Sammy scale. The fascinating thing about all media owner and not a rights owner.” That was one of the messages from a Andrews, Motive Unknown’s Darren streaming services, particularly those with Dias did make it clear that relying on session on playlist-pitching. “When it comes

7 | sandbox | ISSUE 189 | 12.10.2017 EVENTS SANDBOX SUMMIT to those bigger ones, don’t get your hopes important. You can’t come up with good “Work what you’re doing with your up, first. It’s really important to go for the ideas and you can’t have good relationships influencer campaigns into a wider smaller ones and have really good contacts,” if you’re working 80 hours a week, sending marketing strategy,” she added. “When said Rene Andreasi-Bassi, head of digital emails out of hours, not taking holidays and you get amazing pieces of post and marketing and promotion at FUGA. generally getting stressed and ratty.” amazing content created, don’t feel that “If you’re a soul singer and you can get on “It’s not worth sacrificing your health over: was just one moment. You can keep a playlist like Sweet Soul Sunday on Spotify, no one’s going to die if you don’t respond to resharing it, and you can use that creative that’s way more value than getting on New an email the same day or the same hour.” in other parts of your campaigns. Music Friday,” said Lucie Watson, head of Kobalt’s David Emery, who has written A separate panel on influencer music at Platoon. and spoken about this topic before, marketing saw Atlantic UK’s Jacqueline With Spotify continuing to prioritise its also talked about the way focusing on Eyewe give her perspective on working own playlists in its service, is it worth labels wellbeing can help people to be more with these online stars. spending time and money curating their creative in their work. “These people understand their audience own? Actually, the panel suggested it is. “Take time to give yourself the space for really well, and that’s why they have that “Other than the actual direct streams and ideas. No one has ever come up with a great engagement,” she said. “It’s not a faceless revenue that come from them, there are also idea sitting at their desk, doing email on their brand; it’s a person. And they’re going to algorithmic benefits from that first flurry computer,” he said. have their voice, whether it be a tweet said. “They are the ones who are reshaping of streams that you won’t get unless you “Ideas come from being out in the world, they put out or a video. You have to really the media landscape – and particularly have that direct route to market,” said Justin giving yourself space to breathe… Give collaborate with these influencers to get the around music.” Barker, global director of streaming strategy yourself space, go to an art gallery. Get away best result.” Collins said that under-13s are active at PIAS. from your computer!” She added that tighter rules on creators, not passive consumers of In other words, those label-owned disclosure of commercial relationships entertainment of all kinds. playlists can act as a springboard for new Influencer marketing haven’t reduced the effectiveness of these “Don’t just feed them content – give them tracks onto Spotify playlists like Discover on the rise marketing campaigns. the tools where they can remix your brand,” Weekly and Release Radar. “A lot of the work that people are doing he recommended. “If you treat them as Warner Music Group’s SVP of global is showing that #ad doesn’t put people off regular consumers, they will not give a shit.” Don’t neglect wellbeing marketing Beth Appleton focused her ‘what any more from engaging with the post,” Collins also said that any marketer or I learned’ speech on influencer marketing, she said. “The people who are young who digital service – he cited Musical.ly as a key sandbox Summit was the latest industry outlining its importance to the label group. engage with the influencers know it’s part example of the latter – that is collecting data conference where wellbeing came up as “We know that they’re the new of the deal almost.” on children may have legal problems ahead, an issue that deserves more priority – tastemakers. And ultimately we’ve got if they do not put the correct policies in place particularly in the always-on culture of many the potential to reach millions globally,” Don’t underestimate around privacy. digital marketing teams. said Appleton. the ‘centennials’ Collins pointed to Pokémon Go as the “Health and wellbeing is probably the “What we’re finding is it’s not all about model to follow here. It had an under-13 most important thing, followed by your YouTube: it’s about how we get the right Dylan Collins, CEO of children’s network signup process in place, creating a two- relationships with your family, friends and piece of content, the right personality and SuperAwesome, suggested that the music tier onboarding system for users that colleagues. You really need to prioritise your the right story to the right audience.” industry should make less assumptions health and wellbeing, and it’s made me Appleton warned that measuring the about the next generation – ‘centennials’ – of sandbox somewhat evangelical within our company success of influencer campaigns with real- music fans. MORE FROM THE SUMMIT about that,” said AEI Group’s Dias. time data is vital, and said WMG has seen “As regards everything you thought you Read our full session reports at: “We’re in a creative industry where ideas concrete spikes in streams and YouTube knew about young people – you are pretty http://musically.com/tag/sandbox-summit/ and good relationships are really, really views when working with social stars. much wrong with regards to under 13s,” he

8 | sandbox | ISSUE 189 | 12.10.2017 safeguarded it against future litigation.. :) CAMPAIGNS The latest projects from the digital marketing arena

ACADEMICALLY GIFTED: CREATING A FACEBOOK LIVE LOOP TOKIMONSTA MASH: EDM’S VR LP

showing up in users’ feeds) and built a performance of their ‘Bear Claws’ song around it. Rather than see it as a glitch to have to work around, they saw it as a trigger for creativity. They explain on their Facebook and YouTube pages how they did it. “We rearranged each instrument on ‘Bear Claws’ to fit Facebook Live’s delay, with each loop getting There are plenty of rumours that Facebook is more complex, adding instruments, rhythms, looking to pay copyright owners “hundreds of and melodies,” they said. “Additionally, by millions” of dollars in advances so it can start projecting the video live from a soundstage we to host full music videos. created an infinite tunnel consisting of all the Virtual reality is increasingly the default previously recorded loops.” setting for video – be it live or promo. The social network is appointing licensing and It was all shot in one take and is now at 1.2m Companies like MelodyVR are raising huge music specialists and putting copyright ID views on YouTube and the band landed their amounts of funding and placing large bets systems in place – but copyright owners are first coverage in multiple major media outlets of VR not only going mainstream, but also dance in an interstellar rave under an moving gingerly as they don’t want a repeat as a result. (Users are directed from the band’s music video playing a huge part in driving exploding sun, and remix a 3D world built of the value gap conundrum they are facing Facebook page, where the video has 201k views, the experience. out of TOKiMONSTA’s music,” runs the press down on YouTube. Meanwhile, Facebook to the band’s YouTube channel for monetisation statement. A description like that will either is “rewarding” those who upload native purposes.) Frontman Craig Fitzgerald told the EDM producer and DJ TOKiMONSTA is taking make you leap for joy or run for the hills. video by pushing it higher up the algorithms NME, “When we talked out the idea we thought a different route, however, and trying to If you have ever wanted to wander and making Facebook Live a key part of its it would be pretty fucking groundbreaking if we make the album itself a VR experience/ around Eighties-style animated alien worlds marketing and promotional arsenal. could pull it off but you never know with these format/whatever. where limbless space cats sort of listlessly As this platform/content tussle continues, things, we had With no small level of trumpet blowing bop around beside speakers dribbling out acts are rolling up their sleeves and figuring one shot to make going on, her partnership with The WaveVR pedestrian electronic music, consider this out what they can do with Facebook’s video it work and there is being billed as “the first full-length Christmas come early. Plus, you get to tools as they stand. Some are taking a was no room for interactive album in virtual reality”. For her “remix” the album as you explore the world. “promotion first, monetisation second” stance, error.” album Lune Rouge (sandbox’s rudimentary Which all seems like a tremendous amount seeing a rich window of opportunity here Like a twist on French can tell you that means Red Moon), of effort for very little return. where they can make a noise before everyone the old line about she has created a special edition for users of This is an experience with far more else storms in and smaller acts get buried. life giving you HTC Vive or Oculus Rift headsets to immerse thought, production and creativity than The Academic – a band from the Midlands lemons, when themselves in a whole new virtual world for being plonked beside a DJ or bass player of Ireland – spotted a huge opportunity with Facebook Live the 50-minute run time of the album. on stage at some festival as the artists the time lag on Facebook Live (in the gap gives you delays, make “The experience will let fans explore run through the motions, but not much between the piece starting and it actually a video out of it. a planet inspired by the album artwork, more interactive.

9 | sandbox | ISSUE 189 | 12.10.2017 CAMPAIGNS The latest projects from the digital marketing arena THRILL-AR: JACKO GETS AUGMENTED DANI COHN TURNS MUSICAL.LY INTO MUSICAP.PY

Apple’s App Store has 2.2m apps Last year, due in no editions come with while Android users have 2.8m small part to the sale of a poster that, via to wade through. Really, as an his 50% stake in Sony/ the Shazam app, artist, you have to create a hell ATV, the Michael Jackson will unlock an AR of a good reason to make fans estate generated $825m, experience. Users want to install a dedicated app. according to Forbes. open the Shazam app on their phone Mobile Roadie was a boom To put that in context, and point it at a time a few years back for next biggest pop star poster depicting artist-centric app, but more estate – that of Elvis – the singer appearing in mobile-responsive websites generated “just” $27m. silhouette at dusk; when and the rise of what we might Since his death in 2009, they do, music plays call the FIST powerhouse social Jackson’s estate has while ravens and smoke apps (Facebook, Instagram, become a commercial appear. It is both the Snapchat, ) pulled the juggernaut, but it has first global AR initiative brakes on that. Who even avoided a scattergun from Shazam and the needs an artist app in 2017 unless you’re media activity and sharpen your elbows approach, doing only a first to be integrated into going to throw serious brand money at it to make it into her Top 3 fans. There are few things that have physical album artwork. and treat it more as an art installation (e.g. prizes, including meet and greets and huge impact rather than For those not buying Gorillaz)? concert tickets), and playlist connections lots of things that dilute the album physically, a None of that, however, is giving musical.ly to Spotify. The end goal is converting free the overall effect. concurrent Shazamable star Dani Cohn pause (or even food) for users into subscribers (it’s $4.99 a month “We say no to almost outdoor poster campaign thought as she looks to vault out of the lip- if you are in the US). For that you get an everything that is pitched is taking place that will sync app that made her name into her own “exclusive subscriber badge to decorate to us,” John Branca, co- also offer an AR version of dedicated app, developed by EscapeX. [your] avatars” and “exclusive content”, executor of the Jackson the album artwork. With 8.1m followers and an estimated but you also get a seven-day free trial estate, told It marks another 3.5m daily views, the 13-year-old star if you sign up before you get charged – last year. “If we don’t steady move for AR into clearly knows what she’s doing and what presumably to let you bail if the “subscriber believe it is going to be of the highest artistic the mainstream, working with the estate of her audience wants. She has already badge” and “exclusive content” massively quality, we don’t do it.” Which all makes one of the biggest acts of all time. It’s not started putting out her own music and is underwhelm. the release of Scream, a new compilation mind blowing compared to some of the other now the go-to name when explaining how Gentle mocking aside, if Cohn can make of his dance classics and mixes, intriguing. AR experiences out there, but is certainly the new generation of social media stars this work – and she has both the kind and Not because it’s joining a growing bank of noteworthy that it’s finally music – rather are upending the old order. size of audience to suggest she just might Jackson compilations, but rather because it than the embellishment of Snapchat or The iOS and Android app is a melange – there will be a lot of social media starts marks his first (posthumous) moonwalk into Instagram selfies or the chasing down of of social, gamification and a hard upsell and musicians galloping this way with the the world of augmented reality. Pokémon characters in the park – that is the to subscriptions. You can follow her social promise of a gravy train filling their nostrils. The CD and glow-in-the-dark vinyl focal point here for a mainstream consumer.

10 | sandbox | ISSUE 189 | 12.10.2017 BEHIND THE CAMPAIGN THE CRIBS BEHIND THE CAMPAIGNTHE CRIBS

24-7 Rock Star Shit is the seventh album An EP that became a from British indie-punk band The Cribs – surprise-release album made up of bothers Gary, Ryan and Ross DG: What was unusual about this campaign Jarman – and released on Sonic Blew. It is that we only had a two-and-a-half-week was initially intended to be a fan-only pre-order window. It was a bit of a surprise EP, but after five days in the studio with record for the fans. It was very hands on and it turned into a full album. we dealt with the band a lot. The band also have their own art worker – Nick Scott – who As such, the band wanted it to be a quick has worked with them more or less since release in August so the pre-marketing the beginning. They have a very stylised window was compressed to just over look for everything. That ran completely two weeks. DAN GRIFFITHS, director of throughout this campaign. interactive marketing at The Orchard, and JAMES MOODIE, senior marketing manager at The Orchard, explain how a tight deadline was navigated, where the band’s website and Instagram accounts became key locations to harvest remarketing data, how a Vevo special was put together, what happens when a band won’t stop touring or writing newsletters, and how you have to work around a swear word in an album title getting you banned from two key ad platforms

JM: The album was all about their fans. They had gone into more of a pop-indie sound on the last few records, but they always had this desire underneath to make a punk

12 | sandbox | ISSUE 189 | 12.10.2017 BEHIND THE CAMPAIGNTHE CRIBS

rock record. In 2011, on their fifth album was being released, that was when we Putting together the pre-order and keeping within the OCC rules around [In The Belly Of The Brazen Bull], they went announced the album. with an emphasis on physical discounting that were stressful. The band to the studio with Steve Albini. They did DG: Before that point there was a lot of work were adamant that the margins had to be three songs with him, one of which made Outdoor marketing led the teaser campaign with Nick Scott to create various assets small enough to make the project appealing the album and the other two didn’t. They that we needed for that launch. We worked to fans. That bit was quite a big process. were sitting on those songs for a long time with Townsend who were putting together and the initial idea was to do a fan-only EP Using the band’s website to gather release as a small run. remarketing data What actually happened was they had a DG: On week of release, rather than driving five-day session with Albini and ended up them to a specific retailer or a multi-retailer writing and recording the whole album. He link, we actually drove the fans to the doesn’t mess about. The intention was it band’s website. On their website we had was always going to be for the fans as they the D2C options as well as all the other were always asking what happened to those purchasing options. A big part of driving other songs. them there is that we were cookieing them for remarketing purposes. Everything had to be done quickly JM: The band didn’t want a long and a lot of the pre-order package. We had four laborious pre-order over four months for different vinyl editions that we were selling. something that was for the fans. Rather There was a lot of pre-order merchandise than do that, we decide that we would and bundles. do a two-week pre-order window. That Nick’s vision of how these should appear coincided nicely with the fact that they was represented throughout. But some of were doing a 10th anniversary tour of the assets, such as the website, were built their third album, Men’s Needs, Women’s JM: We did a lot of outdoor work with the by our design team here. Nick would send Needs, Whatever. The day after the tour album title before that so we were starting details of how he wanted it to look visually finished they were releasing new music. to tease it with stencils all over London and we then would build the assets. They did 247 7-inch release. and posters all over Leeds, London and They plotted them out in different using an outdoor promotions JM: They are a heavily physical band but they During that pre-order window, we record stores around the country. It was company. There was also a countdown clock have never done coloured vinyl before. We cookied over 80,000 fans. In addition to that a fan-led campaign and there were times on their website. It was just the album title did splatter versions of the record as lots we also had a cookie on the checkout page and coordinates given out in the UK and but, because of the swear word in it, that of fans wanted that; we did standard black of the band’s website. In any advertising a few shops in the US because the band made it a little difficult. No one really knew for the audiophiles; and we did a luminous that we ran we were able to exclude those live there. It was a little bit like a treasure what it meant – but there used to be a band yellow version just for HMV as they have who have pre-ordered the album. That was hunt. A lot of their fans live in the world merchandise item in the early days that had always been good to the band and that was about not wasting money but also about not of buying everything they make – so they that slogan on it. That was a long time ago quite a limited run. annoying fans who had already ordered it by went very quickly. so it was really only the hardcore fans who There were also test pressing versions running too much advertising. To all intents and purposes for the fans, it knew that something was happening. and Nick hand screenprinted them and That was quite a concern of ours. With a was a one-off release at the end of the tour. They thought it was any number of numbered them from 1 to 100. They are two-week pre-order, you need to run a lot When we got to 24th July – so the things, but 24th July was when we hit pretty rare. The band are very insistent of advertising around the fanbase – but at 24/7 theme carried into this – and it was the button and told everyone what was that the fans are not fleeced. We had a the same time you don’t want to bombard two and a half weeks before the record happening. lot of conversations about bundle pricing them. You don’t want to make them bored

13 | sandbox | ISSUE 189 | 12.10.2017 BEHIND THE CAMPAIGNTHE CRIBS

of seeing the same creative over a two-week to do it. He came down and anchored it, audiences from anyone who got engaged period. making that feature become what it was. with that content. Although we had a fairly That was heavily reflected in the week He is an interviewer by trade. He did his modest ad budget, Vevo were obviously after the record was out. Every day we were homework and sat down with the band driving ads themselves so we were able to working on ideas to squeeze out a few more for around three hours. He really got them recapture that audience and make use of it sales – looking at the different creatives we talking in a way that I’d never seen them come the week of release. could make and the other incentives we talk before. could bring to the table to help the band to At the end, the band said they had never The dangers of dealing with album titles achieve what was to become their equally been interviewed like that before. Ross containing swear words highest charting album today to date. It was [Jarman, drummer] is quite shy but he DG: During that short pre-release phase, I pretty stressful! brought him out of his shell and the band was running a series of digital advertising. talked about when they were kids. All of that But what I didn’t realise was that it was JM: The band like to be involved in the was cut to archive footage. We had to rely on prepping me from what platforms I could process. They have very good management the band to supply us with material. Luckily run advertising on come the week of but every social media post is coming they have a very organised archive. They release – which was down to the swear from the band. They write everything, delivered about 25GB of footage – ranging word in the title. including all the mailers. They consult on from VHS to Super 8. I was already aware that you aren’t the artwork. Everything was driven by we have already done Kasabian on it which There were some bits we didn’t want allowed to swear in digital advertising. It’s them, fundamentally. It is hard work but worked really well as they have that kind of to use as it had been used before. Other a given, really. But there are rules that exist it is refreshing because there are no nasty fanbase. Obviously The Cribs don’t have as bits were really personal so that wasn’t that I wasn’t aware of. On Twitter you’re not surprises when you put the thing on sale big a fanbase as that. going in. But we got stuff ranging from allowed to run advertising if you’re seen to be because it has been driven by the band. As a fan myself, I know how rabid their their childhood right up to today. We also overly swearing on your profile in general! fanbase is. They consume everything the licensed some footage from Glastonbury The band were retweeting a lot of the DG: The band wrote every single newsletter band do and they want to know everything. and Reading when they played the main talk about the album which obviously had that we sent during the campaign. They are The Cribs also have a huge archive which stages there. a swear word in it. You’re not allowed to very keen on sending newsletters, so much really lends itself to this project. The project They really opened up and talked have swear words in the bio or the header so that we had to tell them they might have is a three-track live session supported by a frankly about everything – from Steve of your account – which we obviously didn’t. sent too many to the fanbase! 30-minute documentary. Albini and their relationship with the media We were also running ads on Amazon AMS With Kasabian, they wanted an interview to their relationship with their perceived – their marketing service to list products at Working with Vevo for Off The Record in a casual settling with a bit of archive contemporaries. They are quite frank when the top of search. JM: When I was at Vevo [he was previously telling the story of how they got to where they talk about that kind of stuff. Although the advertising for that didn’t senior manager of music and talent at they are. With The Cribs it was slightly That went out on Vevo, but when the include swear words in it, we were obviously the video platform] there was a format different. They wanted it to look as Eighties album launched we did a screening in a having to pull the album in as that was the created there called Off The Record. It was as possible – with a hint of Parkinson, The cinema with a Q&A with the band. product we were hoping to sell. But when you essentially to be about artists who were in Old Grey Whistle Test and so on. They didn’t naturally do that, it lists the product alongside cycle and about to release an album – and all want a new-school presenter. They didn’t DG: While all of that was going on, we were the ad. That was causing an issue. So two of with the dedicated fanbases. want someone from this day and age. They using Vevo’s new CMS tool. It basically the ad platforms we were intending to use It is not a format that is going to suit wanted someone from that era. We ended allows you more access to a YouTube had to be scrapped, basically. everyone. If they have a wishy-washy up with Gordon Burns [presenter of 1980s channel in the way it may do if you ran that fanbase, it is not going to work. They need to show The Krypton Factor]. channel yourself. It’s not full control, but it is In-store tour and using Instagram Stories have a fanbase that is totally engaged and The band were absolutely amazed that a bit closer towards that. engagement data for ads interested. I set it up at Vevo before I left and he was up for it. He came out of retirement That allowed us to scrape retargeting JM: The band like working. They make it

14 | sandbox | ISSUE 189 | 12.10.2017 BEHIND THE CAMPAIGNTHE CRIBS

known that they like working. On the last release with regard to the creatives that we album they did six in-store appearances in were serving and – in terms of squeezing the week of release. On this one we had five out the last few sales – thinking about how planned, but they ended up doing eight if you we could incentivise fans to buy that week include two launch parties. They were very, as opposed to any other week. very busy. The band found a test pressing for the We did in-stores in Kingston, London, first 7-inch [of the campaign] in a cupboard on release week. We got them to sign it probably a little fresher than those who are and we used it on the D2C store in a lottery on their Facebook page. environment. If you had bought anything We started gathering that data, so come historically on the D2C store, you were the in-store tour, we were promoting them entered into this lottery. But if you also to their fanbase as a whole but also to fans bought anything during that week, you were of associated artists within an 80km radius also included in the lottery. of the venues. We were really drilling down We were also creative in how we made geographically into fans or potential fans bundles out of whatever stock was left around those areas. That helped fill out because at that point quite a lot of vinyl those in-store shows and sell more records stock was selling out. on release week. In addition to that we had a download When the album came out, the digital ad version of the album for £5 on the band’s campaign was pretty comprehensive – or as D2C store. That was towards the end of the comprehensive as we could make it with the week as an extra push. a business profile, you can retarget users swearing issues. We ran ads on Facebook There were several emailers on the week who engage with you on Instagram. That and Instagram. I like Instagram Stories ads of release that were linked to whatever is the first time that you have been able to because obviously on a lot of the socials incentives we had dreamed up that week as use Instagram engagement data for ads. people are watching with the sound off – a sales driver. The mailers might have been Previously it was Facebook data, but being which is the case generally with Facebook longer than you would want based on best used on Instagram. and Instagram. But when you’re in the practice, but the words were clearly from Very early in the process the band Stories environment in Instagram they tend the band. For this we made exceptions in Leeds, Manchester, Glasgow, Chester and were willing to change their profile into a to watch with the sound on. terms of best practice. It was in the band’s Marlborough – the last two were, to all business profile. It doesn’t change their Nick Scott made us a really great looking language, so in this case it was absolutely intents and purposes, a little off the beaten profile aesthetically at all. It might have Instagram Stories ad that we used there fine to do it. :) track. It was all about taking the band to bothered the band if it brought a new look and on top of that we ran ads on YouTube places they have never played before. with it. So we were able to catch a lot of making use of the retargeting data that not that data which was quite important when only recaptured from the Vevo campaign but WANT TO FEATURE IN BEHIND THE CAMPAIGN? DG: In terms of what we were doing with you think about how fans might migrate to also data that we pulled in from the band’s Marketing people: do you have a campaign you are working promotion to back that activity up or raise different platforms. Although they have a YouTube channel as historically as we could on that you would like to see featured in Behind The Campaign awareness for it, we knew that we were very loyal fanbase, someone who bought get it. in a future edition of sandbox? If so, send a brief synopsis of banned from at least two advertising their first album might not necessarily buy it to Eamonn Forde for consideration and your work (and your platforms at that point! A fairly new feature the seventh. Creating incentives to squeeze words) could appear here. that had been introduced by Instagram was Instagram is a fairly new platform for out crucial sales in release week Email: [email protected] that if you turn your Instagram profile into the band’s so therefore the fanbase there is DG: We were very proactive in the week of

15 | sandbox | ISSUE 189 | 12.10.2017 ABOUTSANDBOX

Clients include: Digital marketing services

Universal Music, Warner Music, Campaign support services: CONTACT Sony Music, Spotify, Deezer, • Strategy Ignition, Beggars, Modest, Red Bull, • CRM and Email tools Studio 11, Holborn Studios 49-50 Eagle Wharf Rd Shazam, Domino and more • Digital housekeeping • Social networking updates London N1 7ED • Search and online advertising If you have a digital campaign +44 (0)20 7250 3637 • Mobile applications ☎ related story for sandbox, • Blogs and online PR outreach www.MusicAlly.com please contact Eamonn Forde on Published by music:)ally. • Measuring campaign [email protected] [email protected] effectiveness music:)ally is a music business If you’d like to talk to us about our Registered company number: information and strategy company. Contact Wesley T. A’Harrah on 04525243 digital marketing/mentoring [email protected] or We focus on the change taking training services, consultancy or +44 (0)20 7250 3637 to discuss VAT number: 858212321 place in the industry and provide specific research services, please your digital marketing needs. © Music Ally Ltd. For the purposes of information and insight into every contact Wesley T. A’Harrah on [email protected] personal, private use the subscriber may aspect of the business: consumer Training services: print this publication or move it to a research analysing the changing • In house company mentoring storage medium; however, this publication behaviour and trends in the If you’d like to subscribe, add • Workshops is intended for subscribers only and as new subscribers, or talk about • Digital briefings such may not be redistributed without industry, consultancy services to permission. companies ranging from blue chip a corporate deal please contact • Digital MOT sessions retailers and telecoms companies Anthony Churchman on Subscribers agree to terms and conditions music ally to start-ups; and training around [email protected] music:)ally has delivered digital set up on the :) website, marketing training sessions for except where a separate contract takes methods to digitally market precedence. music:)ally has taken all your artists and maximise the a wide range of clients including reasonable endeavours to ensure the effectiveness of digital campaigns Universal Music, EMI, AIM/London validity of all items reported within this document. as well as events. Connected and many individuals We do not assume, and hereby disclaim, We are now also offering digital Check out music:)ally’s training any liability for loss or damage caused marketing services to labels, artist opportunities here by errors or omissions. In particular the content is not intended to be relied upon managers, artists and other music in making (or refraining from making) related companies from campaign Contact Anthony Churchman on investments or other decisions. We cannot advice and strategy through to [email protected] or be held responsible for the contents of any implementation and execution. +44 (0)20 7250 3637 to discuss linked sites. your training needs

16 | sandbox | ISSUE 189 | 12.10.2017