05 Tools Periscope/Twitter: live video 06–07 Campaigns Robbie Williams, Olly Murs, The Daydream Club, Imagine Dragons 08-11 Behind The Campaign Jacob Collier

NOVEMBER 16 2016 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 168

ARCHIVE MIND CATALOGUE MARKETING IN THE SOCIAL MEDIA AGE COVERFEATURE As we approach “peak Q4”, it is a time of year when catalogues get a major push as part of the Christmas gifting market. But catalogues, like dogs, are not just for Christmas. We look at how catalogues are maintained and how they stay relevant at a time when digital consumption skews towards the shock of the new. Often acts are taken into social media for the first time, but this is a complex balancing act of trying to pique interest without tarnishing their musical and historical importance.

owever much we might like to think Reviving and maintaining of ourselves as sensible souls, there both legacies and relevance Hare few people in the music industry whose heads aren’t turned by the shock Tom Mullen, senior director, creative and ARCHIVE of the new. There are always hot new acts marketing partnerships, at Sony’s Legacy to follow, vital new tracks to listen to and Recordings, explains that marketing for shocking new trends to absorb. catalogue differs from frontline in a number As such, music industry attention of important ways. “One is most ideas that tends to drift towards frontline releases. come to us, they’re used to pitching frontline In doing so, however, we risk overlooking releases when an artist is touring, alive the work done by marketing executives in and active on socials,” he says. Catalogue MIND label catalogue teams, who toil diligently artists may be none of the above and in the – far away from the media spotlight – on case of the deceased there is the additional frequently brilliant campaigns, while level of complication of working with their sidestepping problems such as musical estate. “Estates are at varying degrees overfamiliarity and the absence of the of acceptance of new and creative ideas,” artist themselves. Mullen says. “It’s our job as marketing “The challenge with frontline marketing experts to explain the problem we’re facing, is to raise people’s awareness of a new show an action that is comfortable for the piece of music or a new artist,” says estate or manager and then show results.” Warner Music Group senior digital These results may be as straightforward catalogue marketing manager Tom as driving album sales, finding new revenue Herbert. “With our artists, people streams or increasing the awareness of know the songs. Our challenge an artist – familiar challenges to those catalogue marketing in is to make older audiences who market both frontline and catalogue remember how good they are and releases. While doing this, though, catalogue the social media age to help younger fans connect a marketers must also balance the existing song they know to an artist.” historical narrative around sometimes-

2 | sandbox | ISSUE 168 | 16.11.16 COVERFEATURE legendary acts, who may have decades of history behind them. “There’s a lot of stress in both frontline and catalogue; but the added stress of catalogue is you’re working with an artist or brand that has likely a very storied history that you want to keep going,” explains Mullen. And yet the importance of continuing a catalogue artist’s legacy certainly doesn’t rule out employing new platforms and digital innovations, as Mullen explains. “We, as marketers, have to be understanding of the artist’s past and understand what can or can’t work for them, then make suggestions on innovation, ideas or things that will help the artist/brand stay relevant and reach a new audience,” he says. than 70,000 likes and was seen by more “Innovation can be many things. in such a direct way,” Herbert adds. than 3m people on Facebook, with the As marketers in catalogue, we need “For once, it’s their favourite success persuading Collins’ management to remember to respect the artist, artists that are trending on that Facebook should be an integral part of understand that not every new idea will Facebook. It gets them talking his future promotional efforts. work with these artists and above all be about the artists and their music, The Spotify artist app that Kobalt great storytellers to keep the legacy of driving their enthusiasm.” produced for Nick Cave in 2013 those artists relevant for years to come.” The recent examples of two Warner demonstrated another way in which the artists confirm this. In September, Jimmy historical legacy of an established artist Stepping into digital Page worked with Warner on a Facebook can work for digital marketers. The app and social media – often Live event as part of the label’s global may have tied into the release of Cave’s Led Zeppelin for the first time promotional plans for ’s new album at the time, Push The Sky The Complete BBC Sessions. The results Away, but the fundamental idea, according Herbert sees the fact that many catalogue were impressive: the live Facebook stream to Cave, was to “help the uninitiated artists won’t have previously been the peaked at more than 7,000 simultaneous navigate my vast and terrifying catalogue” focus of big digital marketing plans as a viewers, with 1.3m total views and 70,000 via selected “moods” (Sex, Comic, Heart potential bonus for catalogue marketers. likes. A video for ‘What Is And What Should Break, Blasphemy etc.), as well as playlists “With frontline, a new release is always Never Be’, which was premiered straight from famous fans. everywhere; so within catalogue, we after the live stream, has been seen more “With someone like Nick, it has been try and replicate that by placing songs than 1.2m times on Facebook to date. really interesting because I think his on social media, boosting their online One month later, the global catalogue newer material has been more and more presence,” he says. team at WMG organised a Facebook Q&A accessible; you meet a lot of people who “Most older fans of a large with Phil Collins as part of his Singles knew the name or were aware of him but number of our artists have never campaign. It generated 17,500 questions didn’t really understand what this guy was been able to engage with them and comments from fans, received more all about,” says Patrick Ross, VP of digital

3 | sandbox | ISSUE 168 | 16.11.16 COVERFEATURE marketing at AWAL and Kobalt Label Legacy came up with an honoured to know they were there. Services. “[He is] something of a cultural idea that would allow fans to The best of all? Jeff’s mother said phenomenon and something of a do just that, albeit in a virtual he would have loved this.” cultural icon, what with his film work. He fashion: a website that would And that, according to Herbert, has been around long enough that people let devotees browse Buckley’s is what a successful catalogue started hearing the name and started record collection and listen marketing campaign often comes having to pay attention. That really helps to the music within, either by down to. “We work very closely build the story.” 30-second clips on the site with the artist’s management and He adds, “You have got to be careful itself or via Spotify. The result their estate, and our A&Rs worked without trying to make it too cheesy – was positive press coverage with the artists directly when they trying to rehash or beat a dead horse, and engagement with fans. were alive, often for many years. if you will. But if you do it right, in the “Sentiment across We’re all really conscious that right, interesting way, it can get people the socials and press our campaigns need to be ones to rediscover and re-fall in love with was seen as a gift to the that the artist would have been things that maybe they haven’t listened fans and it wasn’t just being on the site as they experienced his proud of,” he says. “We can still to for a while.” the label going for a cash grab,” collection. Time on site was fantastic for produce new interpretations of music and Legacy knew it had to tread carefully says Mullen. “This site was very personal launch and we had great support from videos and most fans are happy that we’re when it was working on ideas to promote with lots of fans getting emotional artists in Jeff’s collection that were so continuing an artist’s legacy.” :) You And I, a collection of rare Jeff Buckley recordings, released in March 2016. “We had a problem to solve; Jeff had a new album of covers and unheard songs and we needed a way for people to experience 4AD FOREWORD Jeff that may not know who he was or The in-depth feature article has long been a only heard one song,” Mullen says. “Also, cornerstone of the catalogue release and will almost we needed something to reinvigorate the certainly continue to be so as long as people enjoy fanbase as a whole. The fans at times, reading about music. were negative towards another release But 4AD has come up with a rather neat by Jeff.” alternative with Foreword, a series of lengthy From this initial problem came the idea interactive features that sit on the label’s own great for us to be able to present our classic records for Jeff Buckley’s Record Collection, which website. The first – Beds, Rollercoasters, Bridges & (including the original biography draft for the 1989 in a way they haven’t before.” Legacy worked on alongside Buckley’s Beaches: A Red House Painters Retrospective release of Doolittle); Cocteau Twins; frontline act Tanya Donelly He adds, “Most of the ones we’ve done thus far mother Mary Guibert and creative agency – was a lengthy piece by journalist Martin Aston Daughter; Lush; and /Belly. Each of have had the artists involved, which is important to Fame House. “The action was one that timed to coincide with the release of the first Red these is slightly different, but they typically feature us; so rather than just spend money on something came from all sides of the Legacy team,” House Painters boxset in spring 2015. Readers can archive pictures, text and audio and are timed that’s here today, gone tomorrow, these feel a says Mullen. “There were photos of Jeff’s listen to 10 of the band’s songs while reading the around a catalogue release. considered and respectful way for us to approach record collection that his mom had taken. piece and there are also links to photo galleries and “With reissue campaigns, we’ve been spending catalogue marketing. They work well on 4AD.com It got me thinking about how as a guitar to order the vinyl repress. time on doing these as a way of celebrating the too as the site has been designed to have a depth player, your covers that you first play come Since then, the label has published Foreword releases,” says 4AD general manager, Rich Walker. to it beyond just our latest releases.” from your record collection. How cool pieces on post-punk act In Camera; Pixies “We have a huge archive to exploit and it’s been would it be to virtually sit with Jeff and listen with him to his record collection?”

4 | sandbox | ISSUE 168 | 16.11.16 Periscope and Twitter tools on the platform to help broadcasters connect with audiences: Superfans, Groups TOOLS and Periscope.tv (see box below). While it’s duke it out on live video great to see plans for communities and fan-targeting within the platform, these Remember Meerkat? It was one of the stream high-quality video to Periscope and band member Jack Stratton dancing to the developments really should have occurred early movers in live video streaming and Twitter from external sources, including debuted stream of their entire new album a long time ago. caught all the hype at SXSW the year hardware encoders, studio editing rigs, with a well-choreographed drone, ending Leading the trend, Spotify has worked it launched, but quickly lost ground to satellite trucks, professional cameras with the device’s aerial view of… wherever it with artists to pre-release tickets to Periscope (which was bought by Twitter in and other hardware such as gaming, VR was at the time. super fans, notably with Foo Fighters March 2015). headsets, drones and (soon) 360 cameras. Finally, joining the super fans game, last year. Instagram is already hot on the This new tool is aimed at brands, media Periscope have been introducing other fan-engagement trend, allowing people to Meerkat conceded defeat and closed companies and creators, with some of the ‘mention’ other users in their Instagram last month, but Periscope is finding its organisations already making use of it being Stories (the recently launched feature own position under threat as Facebook Disney, the FA, Sky News and Louis Vuitton. competing with Snapchat’s own Stories). increasingly pushes the Facebook Live Certainly with VR on the commercial This is available to verified users only; for offering to its 1.79bn users, many of whom rise, live streaming from headsets could music, we could perhaps see musicians wouldn’t have bothered with live streaming be huge within gaming and communities, adding links to their music, tickets or before it appeared at the top of their news with potential in music for future ticketed merchandise within story posts. feed earlier this year. live streams for headset owners. Sky Platforms, startups and apps left, right While broadcasting in a channel-style News has already been live streaming and centre are all promising super fan way is still Periscope’s USP, Facebook Live high-definition, multi-shot footage of the insights and analytics. With Twitter losing has started allowing blocks of four-hour House of Commons this week, while drone ground to Facebook, this seems like an broadcasts at a time. There have been Periscopes have begun, something that anxious bid to keep some of its userbase examples of slow TV, cooking shows, would work well for live news broadcasts and catch up with a long-standing trend. makeup tutorials, telethons and sport and event coverage globally. CONNECTING WITH AUDIENCES Essentially, Facebook’s users can be coverage via Facebook Live, with regular “We’re taking a big step towards Superfans Pretty self-explanatory. Users see a list of up to live-streaming and pushing conversions broadcasts (such as the Trump campaign allowing any live broadcast, captured 10 people who are their most-engaged viewers, noted with a simultaneously. It’s only a matter of nightly talk show) occurring too. on mobile or otherwise, to be piped into score based on an algorithmic calculation which is informed time before the limits on live streaming And people are regularly streaming via Periscope and vicariously Twitter,” is how by various points of engagement. via Facebook are relaxed and there are Facebook Live. Don’t believe us? Check out Kayvon Beykpour, co-founder and CEO of simpler ways of streaming via other forms Facebook’s Livemap to see the hundreds of Periscope, puts their plans. Groups The ability to broadcast and share with more granular of hardware (which people are already live streams taking place around the world The live streaming platform is developing sets of people. This means friends and communities with working around regardless). The analytics right now, from Ravan Bashirov singing itself to avoid a possible demise following specific interests – something that Facebook has not yet are already stellar on Facebook with the in his car from the Easternmost point of the shuttering of Meerkat last month. While launched. ability to watch via desktop. Azerbaijan to Daniella Hindley doing her this may seem like new ground, US funk The one thing Periscope has developed, makeup (for 43 minutes so far) to 46 of her band Vulfpeck already did an impressive Periscope.tv This has been updated to make browsing which could prove an interesting move, is friends in Bradford. livestream via drone on Facebook nearly a highlighted/suggested channels as streamlined as possible, the ability to live stream to specific groups. Periscope and Twitter are now trying month earlier with what looks like a clever with the ability to watch broadcasts via desktop as well as Unfortunately, in this case it’s more of a to cement the live-streaming platform’s device linking the drone and recorded music mobile now. hint at what Facebook will no doubt be appeal with the launch of Periscope to a phone which livestreamed via mobile rolling out soon enough than something to Producer. This gives you the ability to data. The 21-minute livestream involved get overly excited about. :)

5 | sandbox | ISSUE 168 | 16.11.16 CAMPAIGNS The latest projects from the digital marketing arena BOT AND SOLD: ROBBIE WILLIAMS AND OLLY MURS ARE HOT TO TROT WITH BOTS

campaign digitally interesting and one for fans to engage with. Unfortunately, The OllyBot only really says this at the moment: “Try another question […] Remember to use simple keywords! If I don’t have an answer come back later and ask me again as I’m always being updated ” When testing the chatbot, we tried to simplify conversation to just keywords which we assumed would trigger responses: merch, merchandise, CD, music, new song, We definitely haven’t heard nearly enough buy, preorder, album. When it seemed like about chatbots this year, have we? Hmmmm. nothing would ever trigger a new response, we Luckily for sandbox, two major UK male artists accidentally typed ‘sportify’ instead of ‘Spotify’, firing keywords at RobBot, he works like a with RobBot – and the whole thing is an example launched Facebook Messenger chatbots last receiving the following response: dream. He’s eager to send you sleek-looking of a chatbot done well. While we’re looking at a week – Olly Murs and Robbie Williams (who are “FOOTBALL FOOTBALL FOOTBALL……all day, links to his new album, offering multiple choice potential industry where mailing lists are largely both, coincidentally, on Sony labels). every day.” Oh my. answers and even options to hear his own managed in this way, the OllyBot’s responses There may be a conflict of career interest favourite playlists. Alongside that he sends voice makes it the lightsaber app of chatbots: sure, it So if you’re feeling short of friends, head to going on here. While the chatbot fits in well with clips of new songs, asking, “Would you like to was exciting to use when you downloaded it, but Facebook to meet the OllyBot or to chat with the the overall campaign, there could have been a hear more about the tracks on the album?” Yes, it was replaced by Citymapper and Candy Crush RobBot (their names, not ours). more cohesive feel to the whole thing. Perhaps a we would. “Okay.” a long time ago. First up is the OllyBot, made by The Bot chatbot that was at the party; or an OllyBot that It then says, “The Heavy Entertainment Show Bastille created a chatbot specifically for Platform, who you might remember from the recounts stories behind parts of the interactive opens with the title track – It’s a bombastic, their Wild World campaign, giving it its own nominee list at our awards last month. After video, sending song links with each one. If the grandiose, silly, theatrical and glorious opening. personality to keep it fresh and exciting (for a creating one of the first-ever music chatbots only music keyword it responds to is ‘tour’, then The song is my introduction to the album and, while anyway), which is perhaps what Olly Murs for DJ Hardwell, The Bot Platform went on to it might have been cheaper for his marketing hopefully, the introduction to the tour too. It may should have done. It seems like some of the produce a bot for Zara Larsson. Now they’re team to get an Eventbrite widget. even take the place of ‘Let Me Entertain You’ as bigger artists are building chatbots just for the taking Olly Murs fans on a similar ride. Alongside The RobBot, created with the use of Converse. my first song.” sake of having chatbots. Sadly, it all works just an impressive interactive music video which ai offers a slightly better experience, however. Then there are buttons to continue the like real life here; if someone doesn’t say much, shows Murs before and after a house party, a Opening lines are more interesting for a start, conversation: ‘Listen’, ‘Lyrics’ or ‘More’. you’re probably not going to stick around for chatbot was the logical move to keep the whole with suggestions on how to use the bot. When Gifs follow insults and emojis are free for all very long.

6 | sandbox | ISSUE 168 | 16.11.16 CAMPAIGNS The latest projects from the digital marketing arena DAYDREAM BELIEVERS BOOK OF DRAGONS

You might recognise this duo from our awards last month, too: The Daydream Club Well, this is a first. American were one of four nominees for the Best rock band Imagine Dragons are Digital Artist category, shortlisted for their the highest-profile band yet to stellar streaming strategy, amassing around work with startup Booktrack, a 1m monthly streams despite a meagre company providing soundtracks ethereal sounds enter as Facebook following of 3,000. to e-books. the narrator continues to talk about little bleeps and With a small social following, the band Sync revenue is sought-after noises that drive him crazy. proved that it was possible to exist as income, but while we’ve all A heavily reverbed piano a successfully independent and self- been obsessed with the rise of phrase comes in with the sufficient band, generating enough gaming soundtracks and the whirring sounding more real incremental revenue from Spotify to live ideology of “Netflix and chill”, than internal as the story on. Now they’re going one step further by Booktrack has seen a whole turns more to the scenario having partnered with Burberry in Harrods’ new opportunity to keep the of the book: the setting and London Christmas campaign. book industry alive and make reading a more reason for his mission. music:)ally has long been harping on digitally immersive experience. The piano comes back again a couple about the importance of brand partnerships The company offers a new way to of pages later, more resonant this time as in music, so we’re delighted to write about distribute and monetise music, with the narrator finds a photo and embarks a development in this area involving one of soundtrack-style accompaniment to books, on a train of thought about them, before our nominees. all paced to your reading speed. Imagine chords and drums return, with the narrator The duo created the track, ‘A Christmas Dragons have partnered with Hugh Howey, becoming passionate at the end of the Music Box’, a clockwork-style song to are able to interact with a sensory window author of the bestselling novel, Wool, for his chapter. reflect the sounds of a music box, which via the use of a trigger mechanic and new sci-fi novel Beacon 28. We tested the The experience is brilliant; we see accompanied an interactive film – Harrods & motion sensor. This lets visitors experiment five-page excerpt on the Booktrack website plenty of commuters streaming music and Burberry Present: A Very British Fairy Tale. In with the music and lighting, bringing the to see how it went down. reading simultaneously, so this is a neat the film, viewers could enter their initials to whole display to life. The opening paragraph talks of idea. The book is on offer for £5.99 and is be used in a digital music box, with different In true independent form, the duo made endurance through the training of what unfortunately only available to read via initials prompting different musical phrases, the sheet music available for purchase on sounds like an astronaut listening to a very computer, phone or tablet on web, iOS or thereby making each visit unique. their own label site, Poco Poco Records, Imagine-Dragons-esque intro until the Android – so no Kindles yet. This song is encapsulated in London charging fans £2.50 to play the piano version music cuts to the hum of engines and an It’ll be interesting to get some insight into within a theatrical digital window of the track themselves. They said that underwater sense of sound at the mention the royalty payments on this distribution experience spanning all 29 on Brompton their “dream would be if the music they of “the silence of deep space”. plan, but regardless, we’ll hopefully be seeing Road, each window unfolding the story of created became part of Christmas morning Flicking from page to page, new sounds more integration with music and books in two children embarking on a Christmas soundtrack traditions”. are introduced as you read – some beeping, the future. For now, head to Booktrack.com adventure. As part of the display, visitors Good work, Adam and Paula. robotic whirring etc. Eventually deeper, to read/listen to some free books.

7 | sandbox | ISSUE 168 | 16.11.16 BEHIND THE CAMPAIGN JACOB COLLIER BEHIND THE CAMPAIGNJACOB COLLIER

by him. He creates his own banners and his own trailers. We help him with some design things, but all the ideas come from him and he wants to approve everything himself. He is very active and involved. He had already started a Patreon campaign before this. Part of that was similar to the Raveonettes campaign [write, record and release a single every month throughout 2016] in that he was going to release a single Jacob Collier started on to all his Patreon supporters on the first day YouTube but for his debut of the month. So on the 1st April he’d release album, In My Room, the a video, on the 1st May he’d release a video plan was to move him and so on – leading up to the 1st July when beyond the video channel the album was out. and into a world of Spotify Alongside that he was driving a thing and other audio streaming called I HARM U – which was based around platforms. NIKOO SADR his harmonising. So he asked people who supported him on Patreon to send in clips (manager, interactive of them singing whatever they wanted and marketing at The Orchard) he would harmonise to it. That was brilliant and DAN GRIFFITHS in getting people on board as they got really (director, interactive excited about it. That worked really well and marketing at The Orchard) he got Jamie Cullum, Ben Folds and Kevin explain how they built up Olusola from Pentatonix involved. his fan data, where deft He is a jazz artist but not a traditional collaborations expanded jazz artist. As he is so young, he had his appeal and why the potential of bringing in a large YouTube led his marketing and broad audience – from people but no longer defined it. his age up to people in their 60s. That is what we were focused on getting the attention of all of those people – which can Going beyond YouTube discovered him and signed him to his doing and has totally embraced that digital be quite difficult. NS: We had so little data on him at the management company. He then signed to native world. start as he began from nothing. He was a Membran, which is one of the labels that we DG: He is a jazz artist with a pop mentality. YouTuber and is famous for creating clips work with. DG: It would have been bad if we had just In the early stages of his campaign, we where he harmonises with himself. He is The campaign was already set in motion come in and forced a different voice on the were trying to figure out who his fans were. also a multi-instrumentalist. when we got involved. What we could help campaign. It was very much him. Where do they sit? The older jazz market? Off the back of that, he built a really him with was in making the most of what The younger pop market? There is almost popular YouTube channel. Quincy Jones he was already doing. He knows what he is NS: It all comes from him and it is all driven no middle to the fanbase. It was quite

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video that was all one shot and that strategy. Usually when you do advertising, took off really well. you might do a traditional album artwork He is so good at knowing what trailer. But this fitted really well in working he wants [on YouTube] so we out which target audiences were responding have to help him out on the other well; he had one ad with Ben Folds, one with platforms where he didn’t have as Jamie Cullum which might have been much knowledge. YouTube was a slightly older audience, and one with the one channel where he wanted Kevin from Pentatonix (below, left) who to have complete control. We can are a really famous YouTube group. Those run advertising on his YouTube covered the different target audiences so channel but we couldn’t do much on we could target them for ads and see how there around playlisting and all the they responded. That worked really well confusing. Traditionally a YouTuber might optimisation that you would normally do. to see how audiences were responding see YouTube as their source of income and make people aware of who he was – whereas he is quite willing to put videos up DG: The term “YouTuber” is quite old outside of his fanbase. on his unmonetised Facebook page because fashioned in some ways. You don’t look back He is so good at connecting with his he understands that that will help him grow at Ed Sheeran or Justin Bieber and see them audience and with everything he was his fanbase. as YouTubers: you just see them as pop doing on YouTube; he knew where he was stars. This is what we are hoping to achieve going with it. He had a mailing list that he NS: He was very open to doing other things with Jacob. had started but he didn’t have any email outside of YouTube. His videos were always addresses or data in it. So we set that up up on YouTube – the videos that he was NS: The videos that we put up natively on for him. All the email addresses from his releasing every month. They were always Facebook have really helped to grow his Patreon list were included so he could themed and he is very inventive; so he did a Facebook. Before, there was a clear gap contact them after the campaign. That email list grew really quickly. He didn’t have Spotify verification and didn’t really do anything on streaming services. We set up a Spotify playlist because he has very specific music tastes that he connects with his audience through. He was very specific about the music he between his Facebook fans and his YouTube chose – including the way they were set up subscribers; they are now on the same level. in the Spotify playlist. That is how involved It would appear that his Facebook audience he was. He wanted to keep the playlist up to are slightly older. make people aware of his taste. His Spotify followers went through DG: In terms of recognition outside of the roof [now at 14,602 followers]. He had YouTube, that has definitely happened. a Spotify profile but he hadn’t really done anything with the platform. No one was Using collaborations to extend the reach really aware of him there as he started on NS: Because he was doing these harmony YouTube. The first place people were going clips, they fitted really well with the ad to was YouTube.

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to a destination like YouTube where 360 album launch there might have been a much NS: One thing that is important about his softer sell, it was apparent streams is that he is an album artist. He had here that the album was for singles and you can see which ones they are sale if they wanted to buy it. [in the streaming data], but overall, multiple tracks haven’t been singles and they still NS: That was a big part got quite of how we captured the a lot of extra email addresses. streams. If That was all through his you look at website. You had the retail the album, links but you also had the all the email sign-up form. tracks are For all his Spotify playlists, when consistently we were trying to get people to notice around the the playlists, we did ads on Facebook to same level. send people to Spotify. That was mainly in People are Germany. We also did radio ads via Radial, playing the that is an Orchard brand. He recorded a whole album. voiceover for it and he got to curate that whole playlist – like a takeover of the DG: That might not be something you would playlist. That was advertised on Spotify. see with a pop artist but you would with a We were checking his streaming jazz artist. numbers to see if he was one of those acts who sells a lot at the NS: He did a YouTube 360 album launch. So beginning but then quickly drops we were working together with YouTube technology that he has built specifically for it was such a short time period before the off – but he has been consistently and we didn’t put that off completely. It his shows. launch of the album. holding up his downloads and was available on the day [of release] and We did a countdown clock on streams. It’s been very consistent for a week afterwards. We had 1,000 people DG: For that launch, traffic was the website that we announced at the over time. He’s had 3m+ streams. That is stream it live and then put it unlisted on directed towards his website rather YouTube 360 launch. When the launch was quite impressive. :) his site for a week and it gathered 10,000 than towards his YouTube. happening, we were directing all the traffic streams there. to the website. That was a really important He does one-man shows where he plays Building his audience data part of what we could use when we were WANT TO FEATURE IN all the instruments himself, using looping, NS: He didn’t have any data [when we advertising it; without it, we didn’t have BEHIND THE CAMPAIGN? and also harmonises with himself. It was started working with him] and he didn’t have any data – apart from the Patreon email Marketing people: do you have a campaign you are working filmed in 360 at the YouTube Creative Space any pixels on his website. He wasn’t using list. Those fans were already so involved in on that you would like to see featured in Behind The Campaign in LA. any remarketing tools. His website was a the campaign so we didn’t want to over- in a future edition of sandbox? If so, send a brief synopsis of He also has a live visual show with a Squarespace site so it was quite limited in target them. it to Eamonn Forde for consideration and your work (and your screen behind him so when he harmonises terms of what you can do on it; but we put in words) could appear here. it also films him and that appears on the the retargeting there. We wanted to gather DG: The splash page had prominent buy Email: [email protected] screen behind him as he plays. That is as much information as possible because links as well. So rather than sending fans

11 | sandbox | ISSUE 168 | 16.11.16 AWARDS THE WINNERS

Best Music Startup (B2B) Dot Blockchain Music won this category. The US public benefit corporation founded by PledgeMusic’s Benji Rogers is developing a new technology architecture and applications to modernise digital music files, the supply chain, rights ownership and payment processing using blockchain- based technology.

From The 1975 and Run the Jewels to Dot Blockchain and Dice, last week’s Music Ally Digital Music Awards showcased some of Innovation in Music & Brands the most inventive artists, startups and Creative studio We Make Awesome Sh Innovation in Publishing Copright nd Roties Mde Es Bold Vision. Brilliant Execution. people in the digital world. won this prize with its Requiem for Arctic The winner of our publishing category Our second awards were held at the Ice project for Greenpeace UK. Based on was SOCAN, the Canadian PRO that Copright nd Roties Mde Es Copright nd Roties Copright nd Roties Mde Es Café de Paris in London, with a full house a #SaveTheArctic musical protest outside has been making some bold moves Mde Es gathered to celebrate innovation in our Shell’s London office, WMAS extended the recently. It has acquired technology industry. protest online, using web audio APIs to firms MediaNet and Audiam to fuel its A full list of winners is below from the turn the digital actions of supporters into a transformation into a full-service music awards, which had Google Play as our lead dynamically-composed piece of music that rights organisation, while also launching sponsor, as well as support from Vistex, lived online. its Royalty Guru software. Lewis Silkin, AIM, AudienceNet and ICE. Category sponsor: Lewis Silkin / Eleven Category sponsor: Vistex

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Best Music App Best Digital Marketing Sony Music Sweden won this category with Campaign (Major) its Sony Music Insights product. This isn’t Bastille’s new album Wild World focuses an app for music fans, but rather one for on how messed up the world is, but artists and their managers to track sales, the digital marketing campaign for it streams, social media stats and radio was anything but. From a Facebook airplay from their smartphones and tablets. Messenger chatbot and Snapchat tracklist reveal to a Spotify visualisation Best Artist Digital Marketing microsite and pop-up store, Virgin Campaign (Independent) EMI’s campaign engaged superfans and From their savvy mailing-list strategy to attracted new listeners. meowing-cat remixes, Run The Jewels have been one of the most inventive artists Best Digital Artist when it comes to engaging with fans. Mass The 1975 have been winning over pop Appeal and The Other Hand’s work for the and rock fans alike, most recently with ASSOCIATION OF INDEPENDENT MUSIC duo won our best indie marketing campaign their album I Like It When You Sleep, For award. Sponsor: AIM You Are So Beautiful Yet So Unaware Of It. Yet the band’s rise has also been Innovation in Live Music fuelled by their inventive digital UK-based startup Dice has built a firm campaigns – aided by Dirty Hit and fanbase for its smartphone app, which Polydor – and willingness to engage offers no-booking-fee tickets for gigs, with with fans wherever they are online. recommendations from its editorial team Sponsor: Google Play encouraging fans to explore up-and-coming acts. Its slick app and excellent industry Outstanding Digital Achievement outreach bagged it our live award. Finally, hearty congratulations to Beth Appleton, who won our outstanding Best Music Startup (B2C) digital achievement award in recognition When Ryan Leslie wanted a better way to of her work within the industry. Currently communicate with his fans, he founded SVP of global marketing at Warner Music his own tech startup to do it: SuperPhone. Group, Appleton was previously director The winner of our best b2C category is a of digital, UK at Universal Music Group, platform for artists to talk directly to fans and before that head of digital and through SMS, with e-commerce, analytics business development at V2 Music. and bots all built in. Sponsor: AudienceNet Sponsor: ICE

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your streaming and sync strategies and keep track music :) ally of your competitors’ performances. Even if you Webinar Course cannot attend the modules live, you will be sent the recording of the session so no worries there! Digital Marketing for Music Publishers 22nd & 29th November 2016 Please contact [email protected] for pricing, more info and to book your place. Group Proving to be very popular, there’s still time to discounts are also available. We look forward to book a place on our brand new training course! hearing from you! Kicking off on the 22nd November, our two module webinar training course is tailored specifically to This two module webinar course will teach you how the publishing sector of the music industry. Digital to do the following: l is not an isolated domain for labels and artists. Align your streaming and sync strategies to get Entries now open for sandbox’s Modern music publishers are having to adopt the best results from both. an increasingly proactive role in digital and in l Effectively work with A&Rs and developing Campaign of the Year 2016 marketing their writers, composers and catalogue. writers/composers to build a social media base. Having the best up-to-date knowledge and l Understand how to get your songs featured in Yes, it’s that time of the year again where we ask Deadline for submissions is: 6pm (GMT) Friday relevant insights will be invaluable to those efforts. playlists. you to send us your very best artist marketing 18th November. l Keep track of your and your competitors’ campaigns of 2016. If you’ve entered before, music:)ally has designed this course in close performance within streaming platforms. you’ll know the routine. If you haven’t, it’s a very It’s completely free to enter so get your consultation with a wide range of music publishers l Understand how digital advertising works to be simple process where you complete an online submissions in! to ensure it meets their needs in the digital space able to promote your writers, composers and brand. form and send us some nice images and we’ll and can help to grow their businesses. These two take care of the rest. As long as part of the campaign occurred after modules can be accessed globally, and will teach Course details January 2016, you’re okay to go! you to promote your composers, writers and brand As an aide-memoire, here is a link to last year’s across social media, playlisting and digital service The two modules take place on 22nd and 29th sandbox special to give you an idea of the kind Head to this link to fill out the submission form! providers, while better understanding how to align November 2016, at 3pm UK time. of thing we are looking for.

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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 Lil Patuck 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 Karim Fanous 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 Karim Fanous 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

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