How Vr and Ar Could Change Music Marketing Real Coverfeature

Home , Cosmogramma, Greatest hits album, Safe with Me

06 Tools Mixcloud 07-08 Campaigns Jack White, Brit Awards, truth/Lip Sync Dat, Enrique Iglesias 09-12 Behind The Campaign Sam Smith

FEBRUARY 25 2015 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 127

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HOW VR AND AR COULD CHANGE MUSIC MARKETING REAL COVERFEATURE

The initial hysteria a few years ago around augmented reality’s (AR) potential for music quickly cooled off but now falling costs and technological leaps means it is coming back for a second swing. Virtual reality (VR) GET is also becoming more affordable and is no longer the preserve of the well-heeled heritage act seeking a shortcut to cutting-edge credibility, with Kickstarter REAL and Google Cardboard knocking down the barriers to entry. Now everyone is allowed onto the playfield, a super-charging of creativity will surely follow as both AR and VR become a genuine reality for all.

HOW VR AND AR COULD CHANGE MUSIC MARKETING

f actual reality is becoming a little too whose parent company was bought much for you, then 2015 could be your by Facebook last year for $2bn. It is, Iyear: it seems that, after years and apparently, set for launch in the middle of years of frustrating potential, virtual 2015, when it will join existing VR kits on reality (VR) could finally make its long- the market such as Google Cardboard, awaited mainstream impact over the next Samsung’s Gear VR (released in 12 months. December 2014, although you’ll need a The reason for this is Oculus Rift , the Galaxy Note 4 phone to use it) and much-touted VR head-mounted display Razer’s OSVR . Sony’s gaming VR

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headset, Project Morpheus, meanwhile, games companies very excited indeed: campaign is a good example of how with AR, albeit on a more limited basis. In was first announced back in March 2014, PocketGamer.biz, for example, touted this works: pointing uView at the cover March 2014, Warner Music and Capitol although it is yet to get a release date. AR as the next gaming revolution in the art for his 2013 album, Venomous Rat Records teamed up with AR startup Running parallel to this is a second wake of the HoloLens launch. But what Regeneration Vendor, allows you to see Taggar, with Jason Derulo, Sam Smith, wave of augmented reality (AR) about the music industry? How will canny “ Rob Zombie and his rats regenerating Naughty Boy, Bastille and Emeli Sandé all technology, led by Microsoft’s HoloLens, digital marketers benefit from this new right before your eyes”, while fans can featuring in Taggar campaigns. Then in a headset described at launch last month technological revolution? And can they also tap through to buy the album, November 2013, Sony Music worked with as “the most advanced holographic make it pay? watch a video for ‘Dead City Radio’ and Zappar on the One Direction Picture computer the world has ever seen”. For AR, at least, there is some evidence see a trailer for Zombie’s The Lords Of Book AR app, an interesting case in that The HoloLens projects images onto of music industry marketing potential. Salem film, working as both promotional the app only worked with the £39.99 the user’s field of vision, Google Glass- Leading the way in this is Universal Music: material and incentive to buy. box set of the band’s Take Me Home style, rather than immersing you into a in 2012 it launched the uView AR app for The Rolling Stones campaign was even album. Also, in 2011 indie label Ninja simulated environment, which makes iOS and Android, promising users they more involved: fans could use the app Tune created an AR campaign to reward it AR rather than VR. But the obvious could “see music come to life with AR to locate 3,000 iconic locations around fans who bought Flying Lotus’ album similarities are there. The device is still content from your favourite Universal the world where a virtual 3D version of Cosmogramma with extra tracks, which in a fairly early stage of development, Music artists”. So far, the app has been the gorilla that featured on the band’s were unlocked by holding the album cover although Microsoft CEO Satya Nadella used in campaigns for The Rolling GRRR! greatest hits album would then up to the website. said HoloLens would become available “in Stones , No Doubt, Kiss, Bon Jovi, Rob come to life. Alternatively, they could the Windows 10 timeframe”, priced “for Zombie, Wings, Black Sabbath, White Lies, scan any instance of the band’s Tongue & The second wave of both enterprise and consumers to use it”. Lady Gaga, Shady Records and Cheryl Cole. Lips logo to see the 3D animations. There VR and AR for music It has been downloaded between 10k and was also a competition element: fans Musicians’ tentative 50k times for Android. were encouraged to take a picture of the As the timing of these examples suggest, first steps Typically, these campaigns involve gorilla animation in action, using the app’s the AR trail has gone slightly cold using uView to scan an album cover, camera function, then submit them to win for the music industry of late. But This new wave of VR and AR devices has, which will then “come to life” and/or prizes. there are still signs of life: Universal’s as you might expect, got gamers and unlock extra content. The Rob Zombie Other labels have also experimented latest initiative for uView is uSnap, which

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allows fans to add “Stickies” to their music industry could do with VR, both as photos, putting themselves in the picture a promotional tool as well as a possible with their favourite Universal artists, and source of income. a Cheryl Cole Stickies pack was released One of the earliest examples of for uView in January. It also remains to the potential of music and VR arrived be seen whether or not the release of courtesy of Paul McCartney, who teamed HoloLens can rejuvenate AR for the music up last year with California-based VR industry. content specialist Jaunt for a free Android VR is a very different story. There app that uses Google Cardboard – a low- have been few concrete examples key take on VR that involves cardboard, of music marketing with VR to rubber bands and your smartphone – to date and they have largely been give fans on-stage or front-row views limited to bigger acts. But there is of the former Beatle’s San Francisco considerable excitement about what the Candlestick Park gig (see box). “I was amazed,” McCartney told the BBC. “You can watch us and the band and when the band goes, you can turn around in virtual reality and see the reactions.” ‘AN EXCITING AND NATURAL FIT’ – Beck was the subject of a similar experiment earlier that year, when car WORKING ON VR WITH MACCA manufacturer Lincoln employed director Chris Milk to reimagine the concert Steve Ithell, digital manager, development of the technology, if we fast-forward experience, the resulting Hello, Again, MPL Communications Ltd, discusses perhaps five or 10 years I would expect it to have project creating a 3D concert soundscape Paul McCartney’s VR app become as ubiquitous as the smartphone is today. that could also be viewed through Oculus Rift, placing the user in the virtual centre Why do this VR promotion with Jaunt? The Jaunt app works with Google Cardboard, of the audience. Throughout Paul’s career he has always enjoyed obviously a very accessible way of using VR. More recently, Kasabian teamed up using the most pioneering technologies. With the Was that important? How about Oculus Rift? with O2, Columbia Records and Visualise numerous possibilities available to both the creators Could that be big? to offer fans the chance to experience the and users of VR and AR, working with Jaunt was an Where possible we like to ensure that projects are hit its stride with applications far wider than just the sensation of being on stage with the band exciting and natural fit for Paul. not cost prohibitive and accessible to as many fans games market. at the Brixton Academy using VR (in this as possible. Google Cardboard is an excellent and case the Samsung Gear). Are you planning on working again with VR? affordable gateway into the world of VR. Oculus Rift Do you think VR could even be a source of Mark Terry, co-president of Columbia What possibilities does it offer? is undoubtedly at the forefront of this technology revenue for the music industry some day? Records, said the response to the promotion The second wave of VR is still relatively in its infancy and having the backing of Facebook will only Undoubtedly. Whenever innovative and unique had been very strong. “We are constantly but it will certainly play a large role in what’s coming help maintain their position as a market leader. I technologies like VR and AR come along there will looking at new ideas to keep fans engaged next in the online and digital world. We do not think what we’ll find with Oculus Rift’s eventual always be a market available for creators who use it and the project with Kasabian and Visualise have any specific VR projects in the pipeline but commercial release is that the first two generations in exciting ways. AR especially will only continue to was a really exciting and innovative new it is something we will always be considering. As will test the waters with consumers’ appetite for the grow with the wider adoption of 4G and release of marketing approach allowing fans to get for the possibilities that VR offers, given the rapid technology, then by the third generation it will have 5G around 2020. up close and personal with their favourite band,” he explained.

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“It was the first time Columbia digital manager at MPL Communications, product officer Chris Cox told the Code/ certainly can’t afford to be left behind in has used VR to reach fans. The explains below, it could potentially become Media conference that his company was the “awesome” future that Facebook is state-of-the-art 360-degree a source of income for musicians. working on apps for VR. “I mean, virtual predicting. That means embracing VR and technology allowed for a truly What’s more, the experience of Nuren reality is pretty cool,” he said. “You realise, even, in the long run, making it pay. immersive experience and the suggests that VR could be accessible to when you’re in it, that you’re looking at “I used to fucking HATE all this AR response has been fantastic. These more people in the right circumstances. the future and it’s going to be awesome.” nonsense, but since I used Google kind of projects give fans a brand new Nuren is a collaboration between The music industry, it is true, may Cardboard – and, considering its low user experience and that’s definitely the composer Jake “virt” Kaufman and artist/ no longer have the spending power it entry point given you just need a £12 future.” vocalist Jessie Seely to create “the world’s once did to plough into promotion and headset and your phone – I must admit Finally, there is The Who, who released first animated feature-length virtual research. But it to changing my mind,” concludes one an app in November ahead of their 2015 reality music experience”. That may sound digital marketer. “Whether its the world tour, with a premium version to ambitious – and indeed they need $70k to cinema app that lets you view YouTube come sometime this year for Oculus Rift. do it – but the fact they have taken clips as if they’re on a huge screen, More news is expected on this soon. to Kickstarter to raise the funds or things like that Paul McCartney The fact that these examples are suggests that VR could be doable performance video, I think it could linked to well-established acts and often for smaller artists. really be interesting.” :) involve external brands involved should In any case, after years of hovering on come as no surprise: experimenting with the periphery, VR looks like it finally could VR is likely to be expensive and will, for become an essential piece of technology the moment, only appeal to a limited over the next few years. Just this month audience. That said music, and especially it was revealed that Apple had had a live music, is well suited to the immersive patent granted for what looks like a VR experience of VR and as Steve Ithell, headset for iPhone, while Facebook’s chief

Future Music Marketing: Hits Or Hype?

Music Ally’s latest event takes place on 16th April 2015 from 6.30pm at the ReedSmith offices in London. Bringing together a panel of experts to look at the most exciting digital marketing platforms used (or hyped) today, we will be providing the lowdown on the use of VR, messaging apps, video beyond YouTube, streaming services, wearables and much more. All followed by networking drinks. Confirmed panelists include: • Deborah Hyacinth – VP of international music marketing at Universal Music • Niamh O’Reilly – digital director at Sony Music • Dino Burbidge – director of innovation & technology at WCRS • Sammy Andrews – head of digital at Cooking Vinyl • Jessica Roe – CEO of Level Theory

Tickets are limited and will sell out fast. For individual bookings please buy via our website. For groups of four and above please, contact [email protected] for a group discounted rate. We look forward to seeing you there.

5 | sandbox | ISSUE 127 | 25.02.15 TOOLS MIXCLOUD

With an overwhelming amount of choice via and we see that as proof of concept that Lawrence says Mixcloud has is key. “Try to commit to on-demand streaming services, Mixcloud, Mixcloud can be applied to many more radio active relationships with a uploading on a regular with 12m monthly users, wants to swim segments and that we’re committed to large range of DJs, curators, basis, even if it’s only against the tide and become the home of building a service that fills this role.” and radio presenters, so its once a month,” he said. lean-back listening. How can acts and labels From a strategic perspective, providing ability to facilitate the right fit “Listeners will start best use it as a way to reach new fans? both lean-back and lean-forward listening to create high-impact branded content is to recognise that you’re uploading on a is key to accommodating a listener’s digital an attractive proposition. schedule and will subscribe to your channel While digital radio services powered by music habits. Mixcloud has arguably hit The Malibu/Clean Bandit deal is a good expecting a reliable source of content.” He algorithm (like Pandora or Spotify Radio) the sweet spot, capturing both casual and example of this. Clean Bandit created a mix for also recommends getting in touch with the may currently have more users, there is more active music listeners. SoundCloud, for Malibu’s branded Mixcloud channel, appeared Mixcloud support team once your channel clearly something about user-created radio example, is not ideal for passive workplace in a video with the brand and did a sync deal. has gained some traction to find a liaison that attracts a passionate listenership listening or time spent doing household Their hour-long set for Malibu got 37k listens there who can help grow your channel and and brings with it unique commercial and chores as it requires too much active user which, when considering the length of the later facilitate branding opportunities. branding opportunities. input. Despite falling into the lean-back content consumed, is significant. Other platforms and services are placing An important distinction, and one which category, Mixcloud also provides quite an The Mixcloud platform is also impressively a greater emphasis on curation this year, separates Mixcloud from its competitors, is involved experience as people who want to well adapted for the nuances of digital  as seen by Apple’s recent hiring of Zane that it is the only user platform to be fully explore and share new music will find that distribution. Some of the highlights include: a Lowe and an ad that appeared this week licensed for this type of radio content. Ben many of the DJs are playing cutting-edge versatile API which uploaders can customise Plans seeking editorial staff with a pedigree in Lawrence, head of brand partnerships at and unreleased tracks and that the process and embed on social media platforms and ENTRY L. Free music journalism to be based in its London Mixcloud, explains: “The licences needed of finding a favourite DJ or “cloudcaster” other sites to allow streaming of their mixes; PREMIUM £4.99 office. It is also an area Spotify has been to be blanket for the nature of the service. allows for far more interaction than a and the ability to upload content secretly so PRO £9.00 investing in in recent years (to move away The only way you beat piracy is by providing straightforward algorithm. it can be windowed elsewhere. from just playlists to offer greater critical a legal service which is as good as piracy Uploaders and listeners are only one part Apart from the usual entry level account, and analytical context around music) and or unlicensed services.” While it’s become of the picture, though. Because Mixcloud listeners can upgrade to a Premium account this could pose a significant challenge to the PR orthodoxy for user-content platforms is free at the point of access for DJs and to remove ads for £4.99 a month while space that Mixcloud has carved out for itself. to claim how deeply committed they are listeners, its work with major brands is a uploaders can upgrade to Pro for £9 a If one considers the sheer scale of the to compensating rightsholders, it’s quite key part of its USP. Apart from traditional month, giving them features such as content heavyweights in this space (i.e. Pandora’s another matter to see the legalities and digital advertising (and providing a white scheduling and analytics. Especially since 75m+ monthly users in the US and Australia channels for artist payment and user label hosting service for content), Mixcloud Mixcloud users are creating radio product for dwarfs Mixcloud’s global monthly user count uploads so watertight. works directly with brands to facilitate a global audience, the analytics suite gives of 12m), the market for attracting advertising Initially tightly associated with dance commissioned branded content with DJs uploaders a particularly valuable insight into revenue might become even more cutthroat music and DJ culture, the company is and cloudcasters. their listenership as they are able to track as Mixcloud might appear too niche. For now, aiming for something much broader than As seen particularly with Red Bull, where people are listening from, where and however, Mixcloud sits quite comfortably this to include anything you would find Miller and other club-related brands, a how many people are sharing the mix and atop the pile of human-curated digital radio, on terrestrial radio stations. According to live club mix or celebrity DJ playlist can so where users drop off when listening to a mix. a platform with an engaged and growing Lawrence, “We currently have a growing powerfully convey the lifestyle aspirations As for best practice for aspiring channel audience that should be in the minds of community of ambient, soul, jazz and reggae that these brands wants to tap into. owners, Lawrence suggested regularity musicians and brands alike. :)

6 | sandbox | ISSUE 127 | 25.02.15 CAMPAIGNS The latest projects from the digital marketing arena JACK WHITE GIVES YOU 3-IN-1 BRIT AWARDS PUSHES DOWN THE DIGITAL ACCELERATOR

The Brit Awards are pulling out all the performances after the show via digital stops for tonight’s ceremony Google Play , which is the official (25th February). Building on from last download and audio streaming partner. year’s developments, the show will Google Play’s last major involvement in be live streamed on YouTube outside a music campaign was in the successful the UK. Sam Smith live ad break back in May last year (see Behind The Campaign for more YouTubers are also present, with Dan & on this). Phil presenting alongside fashion and The power of second screening has beauty blogger Patricia Bright, who will been apparent for TV in shows such as lead the fashion coverage. Dan & Phil X Factor, So You Think You Can Dance and currently have around 974k subscribers The Voice. The Brits’ ambitious activity on their YouTube channel while Patricia here shows the importance of creating has over 500k. relevance for a younger demographic, The voting through Twitter for Best with its use of YouTubers and a heavy British Artist Video returns for a second presence on social media continuing to year. Last year, social voting led to the lead the way. Jack White’s latest single, ‘That Black Bat social media and buy links, including (given highest tweet volume for a non-sport Liquorice’, has a new accompanying 3-in-1 his predilection for the format) a vinyl edition event, with over 4.2m tweets. interactive video. It allows viewers to of the album. Broadcaster ITV and headline sponsor flick between three different videos, that The video has a striking resemblance to MasterCard are supporting the initiative play concurrently, for the song using their Honda’s The Other Side video campaign that in assorted ways. MasterCard is offering keyboard. There is an animated one , a launched last year, offering an interactive exclusive content for viewers while ITV headbanging one and a live action one, story that follows a driver’s daily double life. is encouraging viewers to post their directed by White himself. It’s a striking video that immerses the viewer views on a branded Facebook app for a into the story and, while less narrative- chance to have their message featured The video can be found on his official driven, White’s video follows the same on the night. Viewers will also be able to site and can be watched via desktop and structure. Interactive videos of various kinds download and stream audio from the live tablet. It’s a clever video, with the toggling have been part of video marketing for quite between the three different videos working some time now. seamlessly. It is, however, worth noting that As virtual reality experiences continue to the video isn’t available on mobile devices – a grow – something we explore in depth in platform where video viewing is growing this issue’s cover feature – the novelty of sharply, especially among younger music interactive formats disappears; but they can consumers. still capture the audience’s interest if based The website also contains all the regular on well-made and interesting content.

status on Indaba Music. Youth smoking prevention Indaba Music is organisation truth has an online community launched an interesting for musicians where campaign catching young they can develop their people’s attention when it skills on forums as comes to stopping them well as collaborate smoking. on recording projects. Other successful The company has competitions on the launched a lip sync competition for a a real impact on their networks of young platform have been run music video called ‘Left Swipe Dat’ where consumers. by Bon Iver, Snoop Dogg users can choose their favourite part of The video debuted on this year’s Enrique Iglesias has launched a remix and Linkin Park (who the song, lip sync to it and post it on social Grammys, with the official YouTube video competition in partnership with Indaba liked a UGC remix so much they included media using the hashtags #LeftSwipeDat quickly gaining over 2m views. As seen Music and iZotope (the prize sponsor) for his it on their A Thousand Suns album as well and #PickMe. The winning numbers have with Meghan Trainor’s video for ‘Lips single, ‘Bailando’. as collaborating with the winner on an a chance of appearing in a Lip Sync Dat Are Movin’’ – where rising YouTubers, additional track for the album). Supercut video coming in April. Instagrammers and Viners all took part in Iglesias has released all the stems from his As much as remix competitions might, Eric Asche, chief marketing officer at creating the video – a dedicated follower single and made them available for fans to through over-familiarity, be losing their truth, told sandbox that the idea for the base for social influencers can all play an download so that they can create their own initial edge from years ago, the incentive campaign came from a study showing important part in making the final product version of the song, with the remix requiring seems big enough to get fans involved. that pictures of people smoking on dating a success. This campaign by truth is a the inclusion of at least one of the stems to Iglesias’ active pushing of the campaign apps like Tinder get almost twice as many refreshing example of trying to reach that be eligible. is therefore absolutely critical for “left swipes” (i.e. rejections) as pictures of teen demographic without collapsing into The competition is split into two parts, competitions like this. people without cigarettes. The campaign scare tactics. with submissions being open keeps further in line with truth’s tradition until end of February and the of using music and culture to connect to second stage open until 4th audiences. March. The final winner will be The video includes Fifth Harmony and announced on 18th March. Becky G as well as famous YouTubers and The big prize is $2,500, Viners such as Grace Helbeig, King Bach plug-ins for iZotope plus and Harley Morenstein. The use of these getting to feature on Enrique stars proves the importance of them in Iglesias’ socials as well as on his reaching younger demographics. Asche SoundCloud profile. There are points out that these online celebrities also prizes available for three are the ones with the opportunity to make vote winners who will get Pro

8 | sandbox | ISSUE 127 | 25.02.15 MAINFEATURE BEHIND THE CAMPAIGN SAM SMITH

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Discovery on YouTube and The acoustic videos were so sharable. the emergence of funk carioca That was building his fanbase online. After a series of collaborations, the priority Then he did the song [‘Together’] with was to establish him as a solo act Disclosure, Nile Rodgers and Jimmy Napes TP: Sam was signed in December 2012 and that sealed off the set-up year in 2013. ‘Latch’ [the Disclosure single on which he People had heard his songs but maybe sang] had just been played by Annie Mac on didn’t know who he was so that when the Radio 1. The first thing we put out by Sam as Sound Of… poll results were published we a solo artist was ‘Lay Me Down’ – an acoustic had ‘Money On My Mind’ out. There was video of him that we put out in February massive momentum from day one. 2013. It was on YouTube and also on iTunes. We got around four Radio 1 plays, but it was The double-edged sword of winning the just to get something out there so that when Brits Critics’ Choice and BBC Sound Of… polls anyone was searching for Sam Smith online TP: We had the album completed and all the there was some of his own stuff available – singles chosen before the Sound Of… poll as well as his work with Disclosure. ‘Latch’ had been announced. Our plot would have went to #11 in the chart and ended up selling stayed the same, whether he had won it or about half a million copies. not. Because ‘Money On My Mind’ and ‘Stay The next track with him guesting on With Me’ were such polar sounds, we felt it was Naughty Boy’s ‘La La La’, which was more beneficial to release the album turned out to be a massive #1. We also after ‘Stay With Me’ so that everyone could put up online an acoustic version of get a fuller understanding of his sound. If Sam Smith’s In The Lonely Hour ‘Latch’ that he had done to underline the the album had been after ‘Money On My was the only artist album to point about Sam as a solo artist. Mind’, people might have thought it would sell over 1m copies in both the be a dance or Disclosure-type album. The UK and the US in 2014, a hugely The dangers of being seen as a “ft.” artist plan was always going to be two singles and successful debut that came on the TP: The videos of him stripped back in the then the album. But we didn’t want to leave back of some deft collaborations studio were songs he had written that it too long [after the Brits and BBC polls] and that helped establish him. showcased his voice. The videos were very all the momentum had gone. TOM PAUL, head of marketing simple – no bells and whistles. There was the We went into Brits week with a #1 at Capitol Records, and contrast with the high production values of single. At the Brits, [host] James Corden CHRIS O’GORMAN, digital Disclosure and Naughty Boy and that meant had a chat with him during the show and marketing manager at Capitol that if you found Sam online at the same told people to listen to ‘Lay Me Down’. Records, explain how he navigated time you’d see he was a very different artist. The single immediately jumped to #20 the hype around winning both the He was constantly touring at that time as on iTunes. We knew we had a special Brits Critics’ Choice and BBC Sound well. He has been touring since we signed song there. The Brits is just a good Of 2014 polls, the importance of him to get his sound and persona out there. seal of approval but it is by no means a physical sales and how Google After that we had the ‘Nirvana’ EP and guarantee of success. Play helped underwrite the cost went to radio with ‘Safe With Me’ for a of a live ad break takeover month and then flipped it to ‘Nirvana’ Vevo Lift as an early partner at the time of the voting for the Brits COG: The thing people still talk about is the Critics’ Poll and the BBC Sound Of… poll. ‘Make It To Me’ Vevo Lift piece, which was

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get one. It was we hadn’t killed enough seats to get the about making the cameras in as the show had gone on sale biggest splash we before we knew we were doing this. There could for a new artist, were a few tense moments where we had which is quite hard to to cut down everyone’s guest lists and do. The first thing move people around to squeeze in as many was coming up with cameras as we could within the health and the idea of doing safety restrictions as Camden Council has a live TV ad . We very strict rules. were lucky, by On the day, Sam had to run the show coincidence rather twice through with no audience in so we than design, that could get the exact timings and we were Sam was already ready for the live broadcast. He would him and Howard Lawrence from Disclosure. performing a sold-out show at the normally start at 9.30pm but he had to start That was pre-album, around the time of ‘Stay Roundhouse [in London] on 30th May, the at 9.41pm and he had an earpiece with With Me’. He was also a Vevo Discover artist week of the album release. The idea was to people telling him if he was still on time or if before that. There was a lot of content for jump to that gig – with the crowd singing he needed to speed up or slow down. It was Vevo . We had two days of filming and he did along, hopefully. We looked through the TV hairy. But it worked and it looked fantastic. some video diaries as well. That ran for two schedules to see what was on ITV, Channel 4 It made a proper impact on media coverage months – in March and April – and his album and Channel 5 that day and found out Alan beforehand. There were 100,000 people was in May so it was really good timing. Carr was. more who watched the ad than watched We approached Channel 4 about the Alan Carr – so there were 100,000 who tuned Launching the album with logistics. They were very excited about it and in just to watch the ad. a live TV ad break takeover very willing to help us. They provided us with TP: Going into ‘Stay With Me’, we wanted to The Outfit, a production company, who had Working with Google Play as a key partner necessarily get as much attention on artists’ make an event of the launch with TV shows. done a live TV advert before [a skydiving ad TP: We had a bespoke version of the album social channels. We put a lot behind that and Sam hadn’t performed on any TV shows at for Toyota]. It was great for us, for Channel 4 that was exclusive to them. The entire show Google were great at amplifying it with ads that stage. We got Graham Norton [on BBC1] and for MediaCom, our media buyers. also went live on their streaming services across its entire network. the week before the album came out. The We then began looking for someone to afterwards – and that was exclusive. nature of TV shows is that they don’t follow help us pay for it because the cost of that TP: There was a takeover of the YouTube performances so, for example, you wouldn’t three-and-a-half-minute ad, plus trailers COG: They had the live stream from the start home page on the day of the gig. Alan Carr be able to do ‘Stay With Me’ on Graham and production, was restrictively expensive of the show so you could watch it across could not mention the ad during his show. Norton one week and then on Alan Carr [on for anyone to do on their own. Pretty Google’s network – so it was on YouTube and You cannot be seen to promote adverts Channel 4] the week after or on Jonathan much the first and only people we spoke promoted with banner ads. This was for the [within shows]. He was able to say, “Stay Ross [on ITV]. That’s a shame as you want to were Google. They wanted to get their UK but the ‘Stay With Me’ performance was tuned for the adverts”, which was as much as many people as possible to hear the song name out there as a relevant destination global. The full live-streamed gig you were as they could do. It was very well amplified and his voice before the album. to consume music, Sam was a high-profile able to watch across the Google network by the Channel 4 and Google press teams. We came up with the idea of artist and this was a high-profile idea for and then ‘Stay With Me’ [went out live] on We had the performance of ‘Stay With doing a live performance ad so them to get behind. Channel 4. There was lots of promotion for Me’ on his YouTube channel immediately we were essentially getting two Once we all came together, it was weeks the exclusive album product on the Google after and then three other tracks were performances on TV in a world and weeks of meetings and logistical Play store . We worked closely with Google hosted on the Google Store. The live gig where you can normally only nightmares. In the run up to it, we realised as Google Play is a store that maybe doesn’t was made into an audio-only streaming

11 | sandbox | ISSUE 127 | 25.02.15 BEHIND THE CAMPAIGNSAM SMITH album that sat on there and was point. He was also the third biggest selling TP: At the very beginning, when he was exclusive to Google. album on Amazon last year. Amazon is a supporting Emeli Sandé, we were doing very big physical market for him. targeted Facebook ads and doing things The age of the “event ad” like targeting people who like Emeli Sandé TP: It’s just about breaking through the COG: For digital, Christmas Day is when you in the Newcastle area and so on to build deluge of artists that are out there, sticking flip. It was constantly seeding out content his fanbase. When he is on tour it is good your head up and not be scared to take a and free downloads. We did a thing called for picking up new fans. We were doing risk. It could have gone horribly wrong. We In The Lonely Hour where, for an hour a day database collection right at the beginning filmed a version with no audience just in in the week before the album was released, we with a clipboard [at venues]. case the broadcast failed. It’s a dreadful, had a bit of content that would go live on the uninspired three and a half minutes as channels on his website and then delete itself Email marketing Sam’s not ready and the band look bored. after 60 minutes. It was all content-led and COG: In terms of conversion to purchase, But it was just a back up. It is good to about letting people hear his voice. email marketing is still the highest, followed take risks and we were lucky that all the A$AP Rocky. He came over and performed by Facebook and YouTube after that. They stakeholders in this were as excited and as it at the iTunes Festival . It is about using Social media are the most engaged fans so they should passionate as we were about it. that global audience as a launch pad for COG: Instagram has always been his get stuff first. Or they get stuff a bit before it It definitely made a difference. Our something special. It was good that iTunes favourite channel. We set him up on it goes on the socials. Because demand is so target in week one with Sam was let us do that. two years ago and now he has over 2m high for him live, one of the most successful to sell 100,000 albums, which is followers. It is also his biggest channel. He’s things we do is pre-sales to his database so unheard of for a brand new artist Leading into Christmas and very funny on there and posts naturally they get the pre-sale link 24 hours before in this day and age. The only way the power of physical retail engaging stuff. He’ll post three or four everyone else and get superserved. we could have done that was to take risks. TP: After ‘Stay With Me’ we went into ‘I’m times a day and he runs that completely by When we are doing pre-rolls [on We sold 101,000 in the first week. Then Not The Only One’ and we were at 750,000 himself. He’s great on YouTube], we will have a Zane Lowe immediately after that the next target was albums when we got into October. Then Twitter as well. It is voiceover for the younger 18-25 1m by Christmas. We ended up doing 1.3m. it was ‘Like I Can’ and we had an X Factor mostly split between audience and then we’d have a standard Sam is the only act in the world to sell over performance which was his biggest TV to Facebook, Instagram voice for the general pre-rolls for the 1m albums in both the UK and the US. date. He’s done very few TV shows. By that and Twitter. His 30-35 audience. We never want to be stage we had three singles in the airplay and content on Instagram too off-brand from how Sam would iTunes Festival the sales top 20s. Having three big is very shareable. really communicate. It is just very COG: He then played the iTunes Festival songs we could rotate on radio and We did a Google subtle tweaks like that for the different [in September 2014]. As long as you’re not online really helped. Because he is so Hangout with him audience segments. :) ignoring other retailers, it’s fine. With a few busy between the UK and the US, when you and that ended up of Sam’s singles, we have released them and do get him [for media appearances] you trending worldwide. That was how we then a few weeks later released a version have to make the most of it. announced he was Alan Carr ad break and WANT TO FEATURE IN with extra features. So for ‘Stay With Me’, we It’s about 70% physical and 30% digital as part of that he did a live Q&A there too. BEHIND THE CAMPAIGN? had the normal version and then a version for the album and then in the run up to He will jump on his Facebook probably Marketing people: do you have a campaign you are with Mary J Blige that was released a couple Christmas it’s closer to 90% physical and more than any other artist I have worked working on that you would like to see featured in Behind of days later. 10% digital. For any album that reaches with. He likes talking to his fans. He really The Campaign in a future edition of sandbox? If so, send those quantities, it’s mostly physical and pays attention to what they say and a brief synopsis of it to Eamonn Forde for consideration TP: The iTunes Festival was around the the gifting market is so important. We had retweets them. He is very good at creating and your work (and your words) could appear here. release of ‘I’m Not The Only One’ and on the one week where he sold 157,000 copies very shareable content. It is very natural Email: [email protected] day we revealed there was a version with and the album was six months old at that to him.

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