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Home , 1960 in British music, 2018 Global Awards, All Goes Wrong, Always Ascending, Always Be, Annie Mac

DECEMBER 12 2018 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 218

thE year’s best music marketing campaigns SANDBOX 2018 SURVEY

thE year’s best music marketing campaigns very year we are overwhelmed by the number and the quality of Contents 16 ... FRANZ FERDINAND 30 ... BARBORA POLÁKOVÁ Eentries for sandbox’s round up 03 ... 17 ... 31 ... BLK of the best marketing campaigns. 04 ... MUSIC 18 ... 32 ... RED HOT CHILI PEPPERS That is not just hot air; there were a 05 ... 19 ... GUNSHIP 33 ... staggering number of submissions 06 ... & 20 ... 34 ... this year, making the picking of a final 07 ... 21 ... ISLAND CO. LAB 35 ... 40 an especially arduous task this 08 ... BRING ME THE HORIZON 22 ... 36 ... time around. Here, then, are the best 09 ... 2018 23 ... DAN MANGAN 37 ... SUPERORGANISM 40 campaigns of the year – listed in 10 ... BURY TOMORROW 24 ... KARA MARNI 38 ... TANK & THE BANGAS alphabetical order but with special 11 ... JOHN COLTRANE 25 ... 39 ... TROJAN 50 awards for the ones that had that 12 ... DEEZER 26 ... M.O 40 ... something extra, that something 13 ... DISNEY 27 ... 41 ... unique, that something new. It is, we 14 ... 28 ... 42 ... YEARS & YEARS must say, a hell of a list. 15 ... FIRST AID KIT 29 ... NOW THAT’S WHAT I CALL MUSIC 2 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY 5 SECONDS OF SUMMER UK

Team members involved city, pop-up shops and video tour diaries. Our content objective was to always be Marla Altschuler, Hannah Maldon & Kinga reactive and timely. Nowicka – Cantine (digital agency) 3. Cocktails chats – a twist on the Maddy Smith – head of digital, Capitol UK track-by-track where the band got drunk Becky Thomas – campaign manager, whilst explaining the album process – was Capitol UK by far our most successful content thread. Kate Sullivan & Abbie Hollebone – Each video has averaged over 350k views digital managers, Modest! Management with 3m views across all seven videos on YouTube and TV. Overview of campaign 4. Flash sales that gave fans short windows to access limited-edition The release of 5SOS’s third studio album, merchandise and digital bundles to drive Youngblood, marked a shift in direction pre-orders into album release. Social musically and aesthetically for the band. media was key to announcing these In a multi-layered campaign, we aimed drops and ensuring they all sold out to re-engage the existing fanbase whilst and eventually contributed to the band Our biggest learning was to never ask or expect from fans. They give reaching new audiences through a more securing their third US #1 album and so much already so we followed their lead and dropped tools for fans mature style and vision. making history. to propel the album themselves rather than explicitly asking them to Content was key to new discovery, 5. Global Snapchat lens for ‘Youngblood’. create assets. For , one of the main flash sale merchandise engagement and the retention of existing The stats were overwhelming and helped items included childhood photos of the band with the Youngblood fans. At every step of the campaign a within the fanbase. The activity trended drive Shazams for the track particularly in signature branding on top. We provided fans with all the main album moment was created to excite fans and worldwide before the video had even been the US. Overall the lens had 262m plays 5SOS branding so they could create assets. Fans placed themselves drive conversation. It was imperative released and resulted in 145% increase in and 185m views over three days. within the artwork using their own childhood photos, just like the that everything came from the band average daily engagement, 335% increase band. This created huge extended visibility across digital, reaching themselves, with their own voice front in daily likes and a 628% increase in Results & key learnings outside of fans with the band interacting. and centre. Below are a few examples of average daily @ mentions. activations where these key values were 2. Content evolution. The aesthetic for • Youngblood the album went to #1 on the put into action: this album developed throughout the Billboard charts, making history with 5SOS ! campaign breakdown 1. ‘Want Back’ video teaser. A tweet campaign. With the input of full-time being the first band to have their first three was sent from the band’s account with creator Andy Deluca, we delivered daily hit the top spot. CAMPAIGN BUDGET £15,001–£25,000 the video release date and a still from the photo and video pieces from the band’s • 1m album sales globally and 1.5bn album AUDIENCE DEMOGRAPHIC video. Every fan who engaged with this travels, a frequency needed to keep the streams. tweet was delivered a personal response audience engaged. These daily content • ‘Youngblood’ the single has had 1n AGE: 14–18, 19–24 from a member of the band with an posts were amplified by geotargeted streams across all DSPs. AUDIENCE GENDER (M/F): 56% / 77% unreleased gif from the video shoot. This activities such as local Snapchat filters, • ‘Youngblood’ #1 at US radio for five LOCATION: Global – primarily UK, US and Australia caused huge discussion around the video individually designed tour posters for each consecutive weeks.

3 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY

Team members involved , twenty one pilots, Steve Boom – VP, Amazon Music , Nicki Tami Hurwitz – VP of global marketing, Minaj and Imagine Amazon Music Dragons, with TV to Josh Fein – senior marketing manager, come. Additionally, Amazon Music select digital, radio, Colin Gaul – group creative director, Amazon and display ads have launched in the UK Overview of campaign and . Each creative In August of this year, Amazon Music features a voice launched its largest-ever multi-media utterance to engage advertising campaign, titled A Voice Is All Amazon Music You Need, highlighting the powerful vocals on Alexa, while of iconic songs while demonstrating the highlighting the simplicity of using your voice to find the power of voice. New music you love. The multiplatform media ad creative featuring plan – inclusive of TV, radio and digital – additional artists and was developed with global independent songs will continue agency Wieden+Kennedy, to celebrate the to roll out throughout growth of Amazon Music and its lead in the rest of the year. voice innovation. Each advertisement is a striking Results & key visual interpretation of songs paired learnings: N/A with isolated vocals from notable artists, showcasing the emotional power of simply asking for a chart-topping vocal performance. The result is an ear- ! campaign breakdown grabbing, eye-catching musical rendition of legendary tracks that end with a N/A listener asking Alexa to play the featured CAMPAIGN BUDGET artist. A voice is all you need to make that campaign, with songs including: Kendrick Since its initial launch, Amazon Music AUDIENCE DEMOGRAPHIC happen. Lamar & SZA’s ‘All the Stars’; Ariana has run online creative and billboard out- AGE: N/A At launch mid-August, digital creative Grande’s ‘’; Kane of-home across the US in cities – including AUDIENCE GENDER: N/A featuring a variety of top artists across Brown’s ‘Lose It’; and Freddie Mercury of LA, NY and Nashville – featuring artists LOCATION: US, UK, Germany various genres began appearing in the Queen’s ‘Somebody To Love’. such as , ,

4 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST CATALOGUE MARKETING THE BEATLES UMC /

Team members involved historically laid-back Katie Alley – head of digital, UMC streaming Lee Jenson – director of marketing, UMC audience. Orla Lee-Fisher – SVP global marketing The Guy Hayden – VP international marketing YouTube Jack Thomson – senior marketing manager, live stream USM has Olly Walsh – director of digital, USM amassed Doug Barasch – senior director, UMe commissioned brand new, over Tom Smith – VP marketing, UMe full-length music videos 150k streams to date and will be edited Jeff Jones – CEO, Apple Corps Ltd for ‘Glass Onion’ and ‘Back into digestible segments to be deployed Jonathan Clyde – director of production, In The USSR’ that premiered with Apple across The Beatles’ other social channels to drive traffic and Apple Corps Ltd Music and YouTube respectively. sustain viewership of the full-length asset. The campaign trailer Jeremy Neech – digital director, Lisa Salem – A theme for this project was the has smashed 1m views and beyond The Beatles’ undeniable social digital marketing producer (both Motherlode impact and influence of the album and we fanbases, we delivered over 600k impressions to UK cinema-goers Media) eventised this discussion with a live stream in only seven days. Our content and communications plan has so far Darren Evans, Caroline Jones, Nick Barratt – from YouTube Space in during driven more than 500k clicks to retail and streaming partners overall Able Media Sam Okell and Kevin Howlett. The first of its release week. The concept saw a panel of and is currently tracking at over 15k clicks a day. The tweet to unlock Richard Barnett – Trunk Animation kind, this truly immersive experience was current artists, broadcasters and journalists promotion garnered 15m impressions and 150,000 engagements James Swindells – Loud Beings designed to engage a mobile streaming debating with Giles Martin and host Matt around #BeatlesMarkItFab. audience and sustain listening across Everitt as to “Could The White Album Be The poster from the original packaging provided a colourful asset Overview of campaign the entire album which was delivered to Made Today?”. We globalised this moment from which we produced a brand new promo video for ‘Glass Onion’ streaming services. but taking real-time questions from fans which feels fresh and modern. As part of our sustainment plans, we We adopted a range of strategies – from local This multi-format product included a watching live around the world, as well as are launching a tool to allow fans to create their own version of the events to social content and digitals tools – to mass of unheard and unreleased outtakes those in the room. classic poster by plugging in their own social media profiles. market arguably one of The Beatles’ most and acoustic Esher demo versions, alongside eclectic albums and definitely one of the the 2018 mix of the album, which gave us a Results & key learnings most creatively challenging artworks. wealth of avenues to explore when it came ! campaign breakdown A campaign highlight was taking a literal to marketing cross-platform and cross- At the time of writing, this charted at #4 blank canvas artwork and producing an demographic. Another first on this project in the UK album charts, the White Album industry-first enhanced playlist experience was releasing all three versions of each enhanced playlist has passed 85k CAMPAIGN BUDGET £25,001+ for this album on Spotify. This consisted of a instant grat track to showcase the breadth followers and accumulated over 3m streams AUDIENCE DEMOGRAPHIC series of looped visual assets to accompany of the album and versions available. We took in a week. This activation was an industry AGE: 19-24, 25-34, 35-44 audio tracks from the album, interspersed fans back to the studio and created visual first and was successful at bringing to life AUDIENCE GENDER (M/F): 60% / 40% with in-depth interview footage with representations of band members talking elements from the physical booklet, as LOCATION: Global producers and experts including Giles Martin, between tracks on the outtakes and also well a shared audio visual experience for

5 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY TONY BENNETT & DIANA KRALL Verve Label Group / Fame House

Team members involved Is Here to Stay. A limited number of fans were also offered the ability to purchase tickets to an intimate performance by Tony Alex Hines, Aaron Desire, Haley Furman, Bennett and Diana Krall at the Rainbow Room in NYC on 12th Kyla Buck – all Fame House September, where they performed songs off their new album. As a capstone to the Love Is Here to Stay campaign, the team Caitlin Colletti, Megan Mark, Justin Jesena, built a virtual tour showcasing George Gershwin’s history using Michael Allen, Hadley Spanier, Google Maps, milestones in Gershwin’s history, tracks from the Mandy DallaCorte, Danny Bennett – all Verve album and narrated historical moments. Label Group Results & key learnings Overview of campaign Debuted #11 on the US Billboard Top 200 Legendary artist Tony Bennett has one • #1 US Top Albums (Billboard) of the most celebrated careers in music • Smule Campaign: 151k views, ~8k submissions history, stretching over more than 70 • Reddit AMA: Views: 200k years. In 2018, Tony Bennett teamed up with jazz icon, Diana Krall, to release the album’s tracklist were posted across Following the release of the album, a duets album, Love Is Here to Stay, each artist’s social channels to continue a video of the full song was released consisting of songs from to build anticipation amongst fans. featuring fan submissions George Gershwin. The album Additionally, we hosted an email for entry alongside Tony Bennett. Tony Bennett was first announced on Tony Bennett’s sweepstakes giving away a hand-drawn shared the video on his YouTube channel 92nd birthday across Bennett’s and sketch from Tony himself featuring the and social media platforms as a thank you Krall’s social media accounts, along with album tracklist. to fans for their involvement. On album the album’s cover art. Leading up to the Next, the campaign utilised singing street date, Tony Bennett took over Travel announcement, fans were able to submit app Smule to launch the ‘Duet With & Leisure’s Instagram Stories featuring their birthday wishes to Tony Bennett Tony’ campaign where fans could record his travels, artwork and new album, and he shared a few fan birthday wishes themselves singing along to the album Love Is Here To Stay. The direct-to-fan on his social media channels. From there, title track, ‘Love Is Here to Stay’, alongside e-commerce offering further reflected this Fame House and Verve Label Group Tony Bennett himself. Fans recorded theme of bringing fans into the creative ! campaign breakdown collaborated on marketing the album, themselves singing Diana Krall’s parts on process. with a focus on bringing the fans into the the track ‘Love Is Here To Stay’, giving fans Within the first 48 hours of the creative process. a once-in-a-lifetime opportunity to duet pre-order, fans had the opportunity to CAMPAIGN BUDGET £25,001+ This began with the rollout of a trove with one of the most illustrious vocalists purchase an exclusive album package AUDIENCE DEMOGRAPHIC of behind-the-scenes teaser content in history, Tony Bennett. Fans could then that included a print of Tony Bennett’s AGE: 45-59, 60+ featuring footage of Tony and Diana share their duets to their own social own painting of his view from his NYC AUDIENCE GENDER (M/F): 48% / 52% constructing the album together in the media, generating further awareness for apartment, alongside a collectible VIP LOCATION: Global studio. Lyric graphics and videos from the album. lanyard and a digital pre-order of Love

6 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY ANDREA BOCELLI (UK), VERVE (US), SUGAR (IT)

Team members involved Sì is Andrea’s first album of new music in placements optimised for awareness, and reused data to 14 years, so it was vital that the strength of push fans through the marketing funnel. This meant we enjoyed Hilton – director of marketing, Decca the new songs was forefront; and the album Facebook ads which performed above benchmark across the board, David Heath – senior digital marketing included duet partners such as , encouraging strong social growth. At the forefront was our Facebook manager, Decca , and Andrea’s son, Matteo Bocelli. Canvas creative; a customisable and immersive storytelling format Toby Hawkins – senior digital media planner, We also knew that the track ‘Fall On Me’ which gives us a way to tell the full story of the album and which Fused would appear on Disney’s achieved an incredibly low CPM. Graham Parker – president UMC, Verve . This presented enormous Our Facebook Live Q&A reached 904.1k people and achieved Holly Adams – SVP strategic marketing, opportunities to leverage with our digital 159.3k engagements. It was a huge moment for us at a key time for Verve spend and led us to develop creatives that awareness, overperforming at a rate of 28x above benchmark. Hadley Spanier – head of marketing, Verve would resonate with these audiences, The multi-language ads were also a huge success, and saw us Michael Allen – VP digital, Verve tapping into new fanbases too. We took achieve an incredibly efficient CPM rate at half of benchmark (£9.14 Caitlin Colletti – director digital marketing, a storytelling approach, relying on video against a benchmark of £18.53). Verve that focused on the connection between We ran a search and display campaign through the Google Display Megan Mark – manager digital marketing, Andrea’s music and his family. we produced, which were recorded in Network, focusing on The Nutcracker, and audiences of shows where Verve Central to the campaign was Andrea’s multiple languages including Italian, English, Andrea had made TV appearances (such as , Justin Jesena – director digital analytics, duet with his son, Matteo, which culminated Spanish, and even Russian. To exploit this, CNN, and Billboard). On YouTube, we ran TrueView ads, and took Verve in a for ‘Fall On Me’. This we ran ads targeting users based on their advantage of a new feature where we could target user uploaded Emily Frost – senior digital media planner connected perfectly. Just one month after device’s language settings. For example, content featuring our music with YouTube Cards, directing viewers to Francesco Pasquero – Sugar Music launch it has become one of Andrea’s Russian fans living in the UK would have official content and retail. Alberto Locatelli – Sugar Music most-viewed videos of all time. To celebrate, seen Russian language versions of our Our global Linkfire link generated circa 300k clicks over the course Luca Oldani – Scozzese YouTube presented Andrea with their golden advertising. of the four-month campaign. button award, marking the milestone of We carefully reused data throughout In its opening week, Sì became a #1 album in both the UK and US Overview of campaign 1m channel subscribers – the first ever the campaign and remarketed to fans with album charts. Andrea Bocelli’s first #1 album ever, and 20 years after classical singer to achieve this feat! newer and more relevant content, including the last classical album topped the UK chart. The campaign began with an in-depth We also filmed a Facebook Live clips from Andrea’s appearances on US report from our internal insights team to Q&A two days before and UK television. We never ran one piece understand Andrea’s audiences and their release, solidifying of video for more than a few days, and – online and offline. This would the father and son consistently refreshed the visuals, meaning ! campaign breakdown help us decide a creative direction bond portrayed in the the frequency amongst our audience as well as plan and allocate media video. showed huge increases in brand lift. CAMPAIGN BUDGET £25,001+ spends. Key findings included that Andrea’s our core audience consumes reach is Results & key learnings AUDIENCE DEMOGRAPHIC news online in a web browser, global and AGE: 19-24, 25-34, 35-44, 45-59, 60+ uses Facebook as their primary this was Once we had developed our creative AUDIENCE GENDER (M/F): Slight female skew social network and consumes reflected strategy, we focused on platforms where LOCATION: Global music online using YouTube. in the assets we knew our audience would be. We built

7 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST CRYPTIC CAMPAIGN BRING ME THE HORIZON RCA UK

Team members involved Results & key learnings

Nick Antoniou – senior digital marketing The campaign lead to the single premiere on Radio 1 as Annie manager, UK Mac’s Hottest Record. Following the set-up of the ‘Mantra’ teaser Will Stevens – marketing manager, campaign, we launched the album pre-order across the band’s Sony Music UK socials and introduced their new official website, as well as their Sophie Graham – international marketing official stores. manager, Sony Music Across the band’s website and official stores, we’ve had almost Raw Power Management 1m page views and 7,000 product sales with Instagram being the second-highest revenue driver after the band’s website and mailers. Overview of campaign The reaction across the band’s socials was incredible, with more than 20m impressions over those two weeks which is the most Bring Me The Horizon have been on a the band ever had in one week. On launch, we also delivered 75,000 rocket of a journey over the last few years, decode and piece together the puzzle left emails with a 26% open rate. The album reached a total of 5k pre- selling over 2m albums globally to date by the band. With support and interest orders in these two weeks which was 1k more than total pre-orders and playing sold-out shows in over 40 from press such as Kerrang! and NME, of their previous album, That’s The Spirit. The campaign resulted in countries, including two sold out nights at it was on everyone’s minds that Bring peaking at #10 on the iTunes chart, entering the iTunes Top 50 in 44 The O2. Me The Horizon were set for a climactic countries and the pseudo video trended at #1 on YouTube. To promote the band’s comeback return. On Spotify, the track was streamed 5.3m times and was added to single, ‘MANTRA’, and to support them The campaign set-up had everything: 15 New Music Friday playlists, including #4 in the UK and #6 in the in maintaining this momentum as well from finding 10 different voiceover actors, US. It was also added as the first track to Rock This, as well as to a as pushing them further, we launched a recording 45 minutes’ worth of audio We kept updating the voice message further 33 Spotify lists with ‘MANTRA’ in #1 position in 13 of those. mysterious two-week global outdoor and messages, setting up 12 different phone every 72 hours to encourage fans to keep Similarly, on the band received support across the board. digital campaign. lines in 10 countries… to getting posters calling. The more they stayed , All this aside, the campaign has firmly re-established Bring Me Centralising the theme around a fake displayed around the world, building the more clues and audio teasers they The Horizon as one of the leading alternative bands produced by the cult, posters were displayed across the four websites, hiring actors pretending would get. UK and has since made them a household name. globe which pointed the public towards to be part of the cult before the band’s The fanbase was fully reignited and a website and a hotline, which received performance at Reading Festival. The new listeners were on board, making over 40,000 calls in two weeks. What campaign successfully combined together Bring Me The Horizon a household name, ! campaign breakdown was waiting for them was a mysterious tangible and digital experiences, bringing As a result, the press coverage has website urging them to “Join a Cult” called the overall theme of the lead single into been constant. There has been amazing MANTRA and an answering machine the real world. support across the board including an CAMPAIGN BUDGET £5,001-£10,000 which played unsettling voice messages The phone line was hugely successful, NME feature and a Kerrang! cover and AUDIENCE DEMOGRAPHIC and teased snippets from the band’s receiving more than 40,000 calls in two interview, followed by being made Greg’s AGE: 14-18, 19-24 upcoming single. Each time it was called, weeks, with an average call duration of Tune Of The Week and ’s AUDIENCE GENDER (M/F): 60% / 40% different teasers played, provoking five minutes. On launch we had more than Hottest Record on Radio 1 upon release, LOCATION: Global enthusiastic fans across the internet to 100 people on the line at the same time! earning its place firmly on the A-List.

8 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST LIVE TV & SOCIAL MEDIA EVENT BRIT AWARDS 2018 BPI / SOMETHIN’ ELSE

BRITs in real time as we broadcasted live on every platform (Musical.ly, Instagram, Facebook, YouTube and ) – a first for a UK awards show. Content was also syndicated to artists to spread the celebration surrounding the winners and performances.

Results & key learnings

Our success is measured by follower growth, engagement and video views – always driving to a peak on awards night. involved going live on all platforms, We also evaluate the quality of artist involvement. Our goal is to curating regular social stories on make The BRITs relevant to a younger, global, social audience. Instagram and Snapchat, delivering We secured 57 social activations with BRITs talent in the build-up, exclusive video content on Facebook and including a digital exclusive performer announcement during a Liam YouTube and providing always-on artist Payne Twitter Q&A. This one activation generated 2.2m impressions updates on Twitter. These activations and 211.6k engagements. were accompanied by the audience-facing One KPI was to increase live stream views on event day: we call to action; “Celebrate with us on 21 achieved our largest live audience ever with 8.1m views across seven February”, designed to drive a single streams. Our YouTube live stream views alone increased by 57%. We ‘tune-in’ message for the night itself. reached another KPI by breaking 3m social followers. Team members involved Overview of campaign Our strategy focussed around @BRITs’ At the awards we worked with 60 individuals to capture exclusive social audience and fans. content, including for our Instagram Story which saw a 482% Giuseppe De Cristofano – director of In 2018, we provided The BRIT Awards’ Throughout the campaign, we gave our increase in views. We dominated nine out of 10 UK trends on Twitter, digital, BPI digital audience with the most audience more opportunities to engage appeared in three out of 10 worldwide trends and generated over Dorothy Hui – VP of digital, Sony comprehensive experience of the show in with their favourite BRITs talent. We also 1.8m engagements. In the week following, we had 17.9m Facebook Adam Cardew – digital director, Sony its 38 year history. optimised content for every platform; video views. Between October 2017 and February developing the relationship with our All from Somethin’ Else 2018, we utilised the best social platform followers and promoting the awards. Tom Young – executive producer features, mimicked how our audience We recruited a 15-strong influencer ! campaign breakdown Nan Davies – executive producer interact and engaged with our biggest squad and worked with over 50 nominees, Lee-Anne Richardson – head of production fans to embed ourselves in their feed, performers, presenters and guests to Zosia Morris – senior producer utilise them as evangelists and grow @ amplify big moments and key campaign CAMPAIGN BUDGET £25,001+ Tom Pollard – video producer BRITs’ personality, brand and audience. messaging. By leveraging these accounts, AUDIENCE DEMOGRAPHIC Will Hardy – social producer Central to this approach was our we led their consumers to the @BRITs AGE: 14-18, 19-24, 25-34 Grace Medford – social producer “excitement you have to share” mentality content that would be most relevant. AUDIENCE GENDER (M/F): 30% / 70% Niomi Fraser – assistant social producer where we created must-see, shareable On awards day, consumers experienced LOCATION: UK Chris Blacklay – designer moments across all platforms. This the excitement and celebration of The

9 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST USE OF GEOLOCATION BURY TOMORROW Sony Music/Music for Nations

Team members involved to meet the band during soundcheck they needed to share a pre-loaded text tweet in order to win. This tweet included venue Julie Weir – label head specific information such as date, time, ticket links and also Joel De’ath – marketing manager included a link to the tour playlist on Spotify. Tom Critten – marketing assistant With over 1,000 entries, streaming figures quadrupled as a result of the viral upsurge in tweets sharing the streaming link Overview of campaign and excitement during the upcoming tour. Also as a result of people being made aware of the tour dates regularly the majority Utilising Google Maps and location- of dates along the tour sold out post the release of the third tracking technology, we created a band- section of this initiative. branded map, hosted on the band’s official website. Results & key learnings Using the iconic design of the Black Flame sigil, we invited fans to “Claim Their • We gained a visual representation of the distribution of Bury Flame” in which they pre-saved the Tomorrow fans globally. album playlist on streaming services, • We gained in total 3,500 followers to the Black Flame album playlist placing a geographical stake in the • We quadrupled streams to that playlist with our third incarnation ground above their location, showing promoting the tour playlist (with Black Flame tracks at the top) their dedication to the band and add branding to their previous black • We increased organic engagement with Bury Tomorrow on socials excitement for the upcoming album. flame and gave fans a chance to ‘collect’ a with map discussions on social media. During the first week of the higher prestige than other fans promoting • The band achieved their highest chart position with this album initiative, we garnered 2,057 unique competition. (#21) compared to previous albums (highest #38). followers to a newly created playlist, This again inspired organic posting • We were able to garner further support with live music companies and as an aside we benefitted from between fans as they competed to be by offering access to our marketing campaign, whilst also ensuring 1,173 unique mailing list signups. the first to view the video, and the first the album was promoted, resulting in the quadrupling of streams. These figures now stand at just below to obtain a gold sigil, leading to more • Favourable Spotify playlisting through promoting pre-saves. double for the entire campaign. particular fans in far-off locations (such excitement around the track. Visually the black flame sigil engulfed as Iceland) and reward them for being Post-album release, we decided to the entire world, leaving limited ground fans of the band). Given the success of re-engage the Black Flame map for a third ! campaign breakdown untouched by the flame, giving a visual the campaign we decided to reignite the time. This time attempting to promote representation to the popularity of the initiative around the release of the second streaming figures and ticket sales around band. It also stimulated conversation single, ‘Knife Of Gold’. their upcoming UK and European tour. We CAMPAIGN BUDGET £25,001+ between fans on social media, by We offered fans the chance to view the included a golden ticket icon above each AUDIENCE DEMOGRAPHIC screenshotting their own particular flame video 24 hours early, whereby in return location of the gig venues along the tour. AGE: 14-18, 19-24, 25-34 on the map and attempting to connect for a sign-up to the mailing list, the video Fans were instructed in order to win AUDIENCE GENDER (M/F): 60% / 40% with others in their proximity. would be emailed to them before anyone the chance for early entry to the show, LOCATION: GB / DE / US / ES / BR / AU / NL We ran organic initiatives to find else. This also offered fans the chance to a further two tickets, and the chance

10 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY JOHN COLTRANE VERVE LABEL GROUP/FAME HOUSE

Team members involved fans with the branding of The Lost Album: Both Directions At Once. Emily Levy – Fame House Phase two of the campaign included a Leslie Owens – Fame House Coltrane covers campaign where fans were Alex Hines – Fame House encouraged to enter a hashtag social media Oliver Schrage – Verve Label Group campaign by posting their covers of tracks from Hadley Spanier – Verve Label Group the album to unlock never before seen footage Megan Mark – Verve Label Group of Ravi Coltrane at where his Caitlin Colletti – Verve Label Group father, John Coltrane, recorded the album. Justin Jesena – Verve Label Group Michael Allen – Verve Label Group Results & key learnings Danny Bennett – Verve Label Group Interestingly, nearly 60% of link clicks throughout Overview of campaign or that matched similar demographic the campaign were attributed to look-alike audiences of fans profiles of direct fans of John Coltrane. that may not have directly followed Coltrane’s pages, but were In 1963, world-renowned and Pulitzer Ads utilised a mix of video containing demographically similar to those direct fans. This may indicate that Prize-winning jazz saxophonist and the new music, images from the box set, direct fans were aware of the album and chose to purchase through composer, John Coltrane, recorded a accumulated over 1.2m followers who and text about the release to entice fans their preferred means of buying music, and therefore didn’t need the series of songs that were never released. monitor the page for anecdotes and to explore further. help of advertisements to be reminded to purchase. In 2018, fans finally had the opportunity highlights from the artist’s catalogue. This creative was A/B tested across Furthermore, clicks to Linkfire were almost evenly split across to hear these songs via the release of Similarly, fans still Google for each online channel to see which content social media and Google’s search and display network despite a Both Directions At Once: The Lost Album information, images and videos related to struck a chord with each subset of majority of the budget being allocated to Facebook and Instagram. on Verve Label Group. Verve Label Group John Coltrane on a daily basis. Knowing fans. Facebook proved to be the most Google display also yielded a more inexpensive cost-per-click, and Fame House’s goal for this album this, Fame House’s paid media strategy successful platform throughout the indicating that John Coltrane fans may be more likely to purchase was to drive streams and purchases aimed at reaching fans in these online campaign since it allowed for wider music while browsing the web than while scrolling through their of the album. To achieve this, Verve locations with the goal of converting them targeting based on interests fans had news feeds. Label Group and Fame House devised to purchase. Additionally, Fame House expressed on the social network, as well a comprehensive digital paid media and Verve looked beyond jazz standards as the ability for more dynamic photo strategy across social media and search/ and classics by serving ads to fans of video content than possible on search ! campaign breakdown display placements, beginning with hip-hop and as a way of reaching and display. Fans on Facebook were also of the album’s pre-order in listeners who may be accustomed to exposed to multiple pieces of content addition to a robust teaser campaign widely used samples of the jazz greats throughout the campaign, allowing for a CAMPAIGN BUDGET £25,001+ featuring never-before-seen journals and like Coltrane. larger story to be told around the album’s AUDIENCE DEMOGRAPHIC tapes from the album’s recording at Van Verve Label Group and Fame House release. Impulse Records/Verve Label AGE: 25-34, 35-44, 45-59, 60+ Gelder Studio in 1963. Although Coltrane targeted online users that had expressed Group also created a Coltrane Trivia AUDIENCE GENDER (M/F): 70% / 30% passed decades before the birth of the direct interest in John Coltrane over the campaign where fans could test their LOCATION: Global internet, his official Facebook page has years, as well as fans of similar artists knowledge of John Coltrane and engage

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Team members involved

Global, UK, Brazil and Colombia artist marketing and comms teams at Deezer Good Relations – PR agency

Overview of campaign

Music is incredibly personal and can move listeners to a certain emotion or memory. Deezer’s core message of personalisation, but it was also a key part However the same song can evoke of supporting and promoting the Deezer NEXT programme. Around different feelings or have alternative the time each campaign launched, the NEXT musicians involved meanings for each person. For example, experienced a positive increase in streams of their songs featured in one may feel heartbreak but another may the campaign as follows (from launch date): feel empowerment. Deezer’s Music With • 159% increase ’s ‘Love Song’ between 16th September Sole showcased this personal journey and 22nd October through a digital campaign that visually • 102% increase of Cythia Luz’s ‘Deixa Ela’ between 7th and 9th showed the different interpretations of November the same song. • 29% increase of Feid’s ‘Nuestra Canción’ between 16th and 21st Using the close connection between Deezer challenged the graphic artist in to negativity, Zak’s shoes were covered September sneaker culture and music, Deezer each region to first listen to the track in warm ‘sunset’ colours to signify the challenged a graphic artist and a musician on their own, before creating their positive end to his relationship. For The media and press worldwide were also engaged with the story, in three different countries to use colourful interpretation on a blank sneaker. The every region, the shoes were completely with titles covering the story included Séries em Cena (Brazil) sneaker designs to show what a song meant musician then described the meaning of contrasting and visually showed the Yahoo! News (UK) and El Tiempo (Colombia) and totalling a reach of to them personally. All three musicians their song. For example in the UK, Daniel deeper meaning music has to each 156,455,841. The long version of the video generated a total of over involved in Music With Sole were part of Cordas drew a burning bridge and a toxic person. 185,000 views across all social platforms in Colombia and UK. Deezer’s support programme, Deezer NEXT, ocean to reflect a bad breakup in Zak’s The designers also created a special as the development of emerging artists is ‘Love Song’. While Daniel had alluded Deezer ‘Flow’ pair, featuring the songs hugely important to Deezer’s ethos. The that influenced both artists on their ! campaign breakdown pairings were as follows: creative path. To launch the campaign, • Brazil: hip-hop singer Cynthia Luz Deezer created a wide range of assets with artist Pomb interpreting ‘Deixa including video and a competition for PR, CAMPAIGN BUDGET N/A Ela’ social and the Deezer community. AUDIENCE DEMOGRAPHIC • Colombia: singer Feid with AGE: 14-18, 19-24, 25-34, 35-44, 45-59 artist Pol interpreting ‘Nuestra Canción’ Results & key learnings AUDIENCE GENDER (M/F): N/A • UK: pop singer Zak Abel and artist LOCATION: Brazil, UK and Colombia Daniel Cordas interpreting ‘Love Song’ The campaign was designed to show

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Overview of campaign of the site, encouraging them to pick Results & key learnings different Disney tracks to sing-along with. Families love to sing along to Disney One of our innovative creatives was a We reached #1 in the compilations chart music. This insight may be unsurprising ‘build your own microphone’ asset that we on week one and were pleased to see that for most people and, as such, UMC put on Pinterest, the creative seamlessly the sales of the albums are sustaining, has released multiple successful sing- fitting into the platform with a crafty twist dropping only one place in week two and along titles. As the world has become to promoting our album. We also created three respectively. increasingly more digital, we have seen Snapchat geofilters around Disney stores. This campaign saw over 5m impressions delivered, 1.4m views that families like to share their sing-along Our social media assets worked in perfect across different content and platforms with over 60k clicks to moments with the world, uploading videos unison with our family-centric TV ad retailers via Linkfire. Our approach for stand out creative worked across social platforms. We therefore which saw kids and parents singing along delivering an engagement rate 377% higher than Universal saw an opportunity, to marry songs from in costumes in and around the home. Benchmark across Facebook and Instagram in feed with video ads. across the Disney catalogue with official We had witnessed the phenomenon Using multiple ad formats on one platform was also a great sing-along instrumental versions in one of UGC featuring kids ‘singing their success with our ‘Swipe up to sing along’ Instagram Stories gaining package for the first time. From nostalgic out’ with , so we partnered with a 127% higher view through rate than Benchmark. We also saw favourites like ‘Under The Sea’ to new Disney Junior to launch a competition brilliant success from our first foray into Instagram GIFs, with over smash hits such as ‘How Far I’ll Go’, ‘Sing asking parents to capture their little ones 55k views on one of the stickers in 24 hours. Your Heart Out Disney’ has a song for singing ‘How Far I’ll Go’ for a chance to win Silence Media returned a fantastic engagement rate with dwell every voice to sing-along with – bringing the album and be featured in a new music time 20% longer and a CTR 300% higher than industry benchmark. together the best-selling compilation video for the track which would appear on Over 27 hours of total interaction time with the interactive packshot brand with Disney for the first time. the Disney Junior channel. across premium sites, a great win for us. From the outset, we wanted to employ Influencers played a vital part in • Varied media mix allowing cross platform frequency among core marketing strategies that integrated into the digital strategy on this campaign. audiences native Disney activity, encouraged parent- We have built a pool of Disney fans • Moment targeting also key for engagement (Twitter targeting half- Team members involved to-parent sharing and paired a bought at UMC that we’ve established strong term conversation during half-term) media plan with relatable video creative. relationships with. We sent products Hannah Chadwick – marketing manager, Wanting to ensure we would reach to relevant influencers (those with kids, Toni Tuesday – digital marketing manager, our audience at as many touch points as those who love to sing, UK-based) and ! campaign breakdown Shannon Conway – digital creative content possible, we therefore created bespoke encouraged them to ‘story’ themselves co-ordinator, Carolyn Allen-Coyle – A&R content that felt native to each platform. singing and using our Instagram stickers CAMPAIGN BUDGET £10,001–£15,000 consultant (all UMC) From Instagram stories with cute kids and a swipe up CTA. AUDIENCE DEMOGRAPHIC – digital media planner, asking you to “swipe up to sing along”, Looking back on the campaign, our Mickey Tropeano AGE: 0-13, 25-34, 35-44 Fused to carousels created from lyric videos, creatives paired with audience-first AUDIENCE GENDER (M/F): Primarily female parents of Nancy Coburn – marketing manager, Disney framed in a Sing Your Heart Out Disney marketing approach including tactic Jamie McCall – marketing co-ordinator, border. These square edits were also remarketing strategies, helped to deliver us young kids Disney used on Silence Media where we built an a #1 album. LOCATION: UK only ELS – TV ad interactive banner aimed to engage users

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Team members involved

Edd Blower – senior digital marketing manager, Columbia Records UK Alex -Smith – head of marketing, Columbia Records UK Corrina Kavanagh – audience development manager, Columbia Records UK Sheniece Charway – marketing assistant, Columbia Records UK Emma-Lee Percy – senior CRM manager, 4th Floor Creative, Sony Music UK Ryan Lofthouse, Josh Sanger, Amanda Playle & Matt Walker – Closer Artists

Overview of campaign social moments like the Shotgun Burp and continued to extend It had been three years since George’s his ad creative. first 4x platinum album was released and in our research we learnt that not Results & key learnings everyone had seen the content from album #1. In the lead up to the first single, ran x6 creatives on launch that aligned and his humour/smile front and centre in • #1 album we began re-engaging his lapsed fans with our audience targeting. In the 10 his lyric videos was a deliberate decision • #1 single with online ads, using previous videos weeks between launch and release, and something that resonated – with • 2x platinum singles such as his live sessions, Ezra Express, our advertising strategy was focused ‘Shotgun’ hitting over 100m views. •Best-selling artist album of 2018 music videos and behind-the-scenes on who the audience was, where they His pet project, the George Ezra & • Database growth of over 54% in one year footage. are online and how engaged they were Friends podcast, was also an incredible We also launched his weekly journal, a with George. We then ran a host of format that allowed listeners to discover newsletter that George writes each week, different ad creatives to take the fans more about him and his guests, talking ! campaign breakdown giving his fans an insight into his week deeper into George’s world. Most of honestly about a variety of subjects. and the occasional exclusive. It has been these ads took learnings from what was Around the album release, Apple Music running for 85+ weeks. This then bled into overperforming on his socials organically hosted the live Abbey Road video CAMPAIGN BUDGET £25,001+ his March tour and studio sessions, both and were therefore built around George’s sessions. Spotify hosted an intimate AUDIENCE DEMOGRAPHIC of which were opportunities to capture personality, musicianship or humour. For event at “Tamara’s” for his top fans. AGE: 0-13, 14–18, 19-24, 25-34, 35-44, 45-59, 60+ photos and videos, which we used leading example, one of our best-performing ads Since release, we have continued to AUDIENCE GENDER (M/F): 40% / 60% to the album launch in January 2018. was a video of George watching his own document George’s global touring story LOCATION: UK Alongside our pre-order incentive, we advert. In a similar vein, putting George with videos and photos, reacted to organic

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chosen given the respective sound quality Results & key learnings and intimacy of each medium. To add the element of surprise, we • Week-one album sales up 70% against previous album, Stay Gold. recorded entire “sound scenes” binaurally Ruins charted at #3 on release week, eight places above Stay Gold. It – a first for any music cinema campaign is both the highest-charting folk and Americana album this year. – that allows the audience to hear in full • The cinema ad was recognised at the Digital Cinema Media Awards 360-degree surround sound. The creative in two categories: “Highly commended” in the Best Use Of Innovation featured the sisters signing acoustic In Cinema category and nominated for Best Use of Cinema (Small). Team members involved content and media to count; you need versions of the lead singles whilst walking Competition came from the likes of Sky, Max Factor and Nike so it to cut through and so surprising your around the Zylia microphone allowing shows that music campaigns can compete with brands with much Sim Rollison – senior digital marketing audience with something they haven’t the audience to feel at the centre of their larger budgets given the right idea and execution. manager, Columbia Records seen or heard before is going to be your harmonies. Bec Adams – senior marketing manager, best route to success. The band’s audience tend to be 25+ and Columbia Records Live has always been one of First ABC1 – and their cultural consumption Laurence Warder – director, Sony Music Aid Kit’s strengths and we wanted to leans towards ‘indie’ media, therefore ! campaign breakdown Kris Winter – , Sony Music put performance front and centre when arthouse cinemas (with full Dolby sound) Liam Jenkinson – media planner, The 7Stars marketing their fourth album, Ruins. The were a natural choice, especially as the plan was to record the band’s duets using album release coincided with Oscar CAMPAIGN BUDGET £25,001+ Overview of campaign the state-of-the-art audio equipment and season. For the podcast adverts, we AUDIENCE DEMOGRAPHIC give fans the opportunity to hear their worked with Acast to target , music AGE: 19-24, 25-34, 35-44, 45-59 Adverts are usually endured rather than vocals in the best possible environments; and culture shows, testing two different AUDIENCE GENDER (M/F): 50% / 50% enjoyed. When you’re working on a limited an innovative harmony between content tracks to maximise the higher frequency LOCATION: UK budget, you need every penny spent on and media. Cinema and podcasts were of this channel.

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Team members involved fresh personal video content from the band announcing their tours and introducing All Domino new band members Julian and Dino, while Bart McDonagh – senior product manager a series of vignettes captured in the studio Brooke Salisbury – head of marketing wove through the set up period to further Will Grant – digital marketing manager (UK share the album’s narrative. & international) The band were strong with numbers Corey Zaloom – digital marketing manager on Facebook (1.9m), but fairly new to (North and Latin America) Instagram, and we’ve close to trebled their Jason Reed – head of digital followers here across the campaign – from Brandon Becker – head of global digital 60k on announce in October 2017 to 115k accounts on release in February 2018 and 160k today. Björn Flòki Bjornsson – digital design Equally their Vevo subscribers have more manager than doubled during the campaign and their Glynn Bolter – junior digital designer exclusive music video for single ‘Feel The Twitter has grown by over 30%. It’s just been Facebook that’s proven Johanna McManus – US product manager Love Go’ and captured social content for tougher to drive scale of growth, which is relatable for many artists. Cerne Canning – Red Light Management Apple’s channels – a ‘Glasouija Board’ video Using unique merchandise packs as prizes, we more than doubled Q&A. A Side By Side audio commentary the band’s mailing list size across the campaign with ‘sign up to win’ Overview of campaign / piece for Alexa and a First & Last Time video competitions – a hugely successful mechanic when working with a Results & key learnings interview gave Amazon users a unique large social fanbase. album announcement, the band Facebook perspective on the new material. Superfan There’s never a shortage of ideas when it comes to working with followed a few years’ live streamed a tiny gig from , which events with Spotify and Deezer furthered Franz. With DSP partnership opportunities and social innovations hiatus for the band. They’d released Right coupled with the album news saw full fans’ opportunities to directly connect with stronger than ever, and a band who are a label’s dream – creative, Thoughts, Right Words, in penetration of their 1.9m Facebook fans the band. deeply involved, hard-working – 2018 proved an especially fun and August 2013 and toured it globally, had a across 24 hours. We started the campaign with 3m Spotify fruitful time to take the band to market globally. shift in line-up and spent a year writing and We revived the Franz Ferdinand Fan Club monthly listeners, launched the album with demoing their new music before recording in - once run by post and email – to beef up our 4.3m and 10 months post-release have Paris with producer Phillipe Zdar. Spotify pre-save offering, incentivising the maintained at 4.2m. Based on their Spotify ! This break between albums had seen band’s fanbase to follow them on Spotify toplist, we created The Sound of Franz campaign breakdown the major shift in consumption trends and save the album with a gated monthly Ferdinand catalogue playlist and via on- toward streaming and a multi-territory web experience featuring exclusive videos, platform advertising and social shares have CAMPAIGN BUDGET £25,001+ Ralph Lauren sync on ‘Take Me Out’ was lyric reveals and the opportunity to interact driven its follower count to 22k. AUDIENCE DEMOGRAPHIC driving very healthy catalogue engagement directly with the band. This attracted north Close collaboration with the band’s social AGE: 25-34, 35-44 as we prepared for the campaign. With of 4k subscribers, who were added to the media agency GH05T ensured the right AUDIENCE GENDER (M/F): 60% / 40% multiple key markets to court, ideas with band’s mailing list post-release. mix of social content intersected key time global scale were crucial to the set-up The band enlisted friend and director zones across the span of the campaign. Live LOCATION: Global, with a particular focus on US, Latin of Always Ascending. On the day of the to produce an Apple Music footage and throwbacks were balanced with America, , Germany and UK

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Team members involved which was promoted across the platform and our socials and featured the new For Red Light Management & Round music from Before The Dead alongside Records: Jerry’s later folk & bluegrass side projects Marc Allan, Kevin Monty, Lauren Goetzinger, including Old & In The Way, the Jerry Hank Bateman, Evan Cooper, MC Saunders, Garcia Acoustic Band, Garcia Grisman, ATO Records, Gupta Media along with collaborations with Link Wray, CSNY (Jerry played pedal steel on Overview of campaign ‘Teach Your Children’) and more. We also worked In May 2018, the Jerry Garcia with our reps and Family LLC, Round Records programmers at Apple, and ATO Records released Amazon, and Pandora Results & key learnings Before The Dead, a collection on spotlighting the new of Jerry’s earliest known folk & release in platform- musical development. The promotion cycle helped us net currently over 100k Spotify bluegrass recordings, pre-dating curated playlists, new Our social media plan was to highlight followers of Jerry Garcia in addition to rapidly boosting follower the formation of The release placement and social Jerry’s rise as a budding folk and counts on Jerry Garcia social media accounts on Facebook (855k), in 1965. media promotion. bluegrass musician in the Bay Area folk Instagram (143k). Multiple Instagram stories per week helped us From the start, we aimed to market As Jerry is considered one of the of the early 1960s through sharing build free impressions about the release at about 8k per story while this release to the core audience most prolific live performers of all time, rare photos and detailed historical notes reach of the account hit about 50k fans in our key demo per week. of Garcia/Grateful Dead fans (AKA it was only natural for us to team up from the release. We were also able to A strong retargeting campaign with Gupta coupled with D2C Deadheads), bluegrass fans and also with Ticketmaster to send an email refurbish the oldest-known video of Jerry marketing from our email list along with a consistent and high enthusiasts of the rapidly burgeoning advertising a discount of the release to Garcia playing music with new audio from quality content plan on social media resulted in about 4k pre- Americana genre. First, in order to affinity touring acts. We were able to the release which we posted on social orders/first week sales and significant awareness about the increase awareness about Garcia’s role target a significant number of fans which media to the delight of fans and used in project to core fans and the greater folk, Americana and classic in the development of the Americana, we generated a very competitive open rate our paid retargeting campaign with Gupta. rock fan communities. teamed up with The Bluegrass Situation and CTR which led to a significant boost in In addition to sharing anecdotes from to co-present Jubilee: A Celebration week one sales. Jerry’s friends and collaborators, we Of Jerry Garcia at the Ace Hotel in Los We also worked with WSM 650, the also reposted record stores and fans’ ! campaign breakdown Angeles, which featured an all-star cast original home of the Grand Ole Opry in photos of their vinyl sets and executed of today’s most visible artists on the Nashville (a station Jerry listened to as a the retargeting campaign with Gupta to Americana/ scene. kid) and KZSU Stanford (which originally core Garcia fans along with bluegrass and CAMPAIGN BUDGET £25,001+ On the digital side, we partnered with broadcasted some of the recordings) folk fans on Facebook, Instagram, and AUDIENCE DEMOGRAPHIC key DSPs to service the music to key to get the release on air in front of Google/YouTube. This sustained output AGE: 25-34, 35-44, 45-59, 60+ fan and genre audiences. We teamed up bluegrass/roots enthusiasts which of content on all Garcia channels greatly AUDIENCE GENDER (M/F): 64% / 36% with the Spotify curation team to create also made for a unique marketing tie-in increased awareness about the project for LOCATION: Global a revamped This Is Jerry Garcia playlist given both of the stations’ roles in Jerry’s the duration of the campaign.

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Team members involved professionally when he was younger, so eight in-stores around the UK, as well as breaking a Guinness World there was a clear opportunity when ‘Found Record for the most concerts (10) in 12 hours. Alice Beal – general manager, Insanity What I’ve Been Looking For’ was confirmed For his debut headline UK tour, we launched a hashtag gallery to Records as Premier League’s title track collate fans live shots which have been used more than 1,500 times, Emma Seccombe – senior marketing for two seasons. First and foremost, it was incentivised by Tom choosing his favourite to frame and sign. manager, Insanity Records all about the music, but we cemented Tom Tom Grennan is one of only three UK-signed artist to achieve a Kieran Cullen – junior marketing manager, in the sport world with regular appearances debut top 5 album this year, the biggest male debut album release Insanity Records on Soccer AM, features with the Premier this year. He has been awarded a Brit Certified Breakthrough Award. Tom Peacock – social media/digital League, Soccer Bible, BBC Sport, Goal.com, marketing, Beautiful Digital Man U takeovers, an interview and goal kick Results & key learnings session with Leicester’s James Maddison Overview of campaign and he even had a “re-trial” with Luton • Establishing Tom as a leader in a competitive market, by creating a Town FC. clear artist proposition from the start; working the Tom Grennan was a brand-new artist in The album was released around the music, personality content pieces, consistent an incredibly competitive and challenging has now grown to 100k. We had to quickly World Cup, so we were reactive and used creative and live side by side, which made market, so we quickly had to establish and create and build his “world”, which involved exciting goal footage with a ‘Found What a top 5 debut album. position him as the most exciting debut regularly posting with personable content I’ve Been Looking For’ the soundbed which • Top 5 debut album (5,000 pre-orders) artist of 2018. worked for Tom. The engagement was we advertised with sports targeting, which • 40k album sales (30k = Brits Awarded With a feature coming with Chase & incredibly high and we rewarded fans by performed brilliantly. Breakthrough Award) Status on ‘When It ’, it was offering exclusive content, including video From the start of the campaign, with • 500k single sales important we released a body of his own premieres, audio teasers, first access to every single release, we announced a • ‘Found What I’ve Been Looking For’ – Radio 1 work pre-release to establish him as a tickets, Facebook/Instagram live stream new show, placing him way ahead of his A-list record / top 30 airplay credible artist in his own right, as well as Q&As, as well as monthly meet & greet peers, and being one of very few artists to • October UK headline tour – over 30k tickets making sure not to miss the opportunity competition, driving people to his store to announce Brixton Academy before releasing • Over 1m impressions a week on of discovery whilst he was performing at enter (which saw consistent spikes in his debut album (which he sold out). His Instagram Wireless in front of 60k people, performing pre-orders.) October tour had over 30k tickets combined on Jools Holland and Radio 1 A-list rotation. Tom played football and he appeared at 14 UK festivals over That track was the stripped back the summer, performing in front of over ‘Something In The Water’ which climbed of over half a million people – his Rize and ! campaign breakdown to #1 on Hype Machine and Spotify’s viral Reading & Leeds being one of the most chart, a track which was used on Love talked about sets – making him one of the Island nearly two years later, gaining over hottest tickets in the UK at the moment. CAMPAIGN BUDGET £25,001+ 4,000 Shazams – which we used in our We consistently fed out live footage AUDIENCE DEMOGRAPHIC TV and digital creative when advertising of Tom from the start, both on stage AGE: 14-18, 9-24, 25-34, 35-44 around the show. and acoustic behind the scenes, AUDIENCE GENDER (M/F): 50% / 50% We were building Tom’s socials from constantly working the music and live LOCATION: UK, Europe scratch, including his Instagram which side by side. On week of release, Tom played

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Team members involved the pre-order and pre-save. With the fanbase now used to interacting with the band; the next stage was to assemble a UGC Dan Haigh – Gunship/Horsie In The video for the band’s next single – in which fans were to record Hedge their scenes from Eighties movies – these submissions were Alex Westaway – Gunship/Horsie In turned into GIFs on the band’s Giphy so fans are able to use The Hedge themselves in conversations & share their personalised content Alex Gingell – Gunship/Horsie In The over messaging apps, comments and so on. Hedge Charles Fitzgerald – Beautiful Results & key learnings Movements (manager) Lee Barter – engagement manager, Chart positions for the Dark album: INgrooves Official UK Album Chart – #34 Toby Peacock – VP of engagement, Official UK Indie Album Chart – #6 INgrooves Official UK Dance Album Chart – #1 Emmy Buckingham – label manager, UK iTunes Electronic Chart – #1 US INgrooves Billboard Dance/Electronic chart #4 US iTunes Electronic Chart –#1 Overview of campaign Amazon: (US) #1 Dark All Day (pre-order) Dance & Electronic (US) #4 - Dark All Day (pre-order) Spotify was identified as the Overall (US) #1 - Album: Dark All Day fanbase’s key consumption Dance & Electronic (US)(UK)#4 Dark All Day (pre-order) platform via our collected audience Overall (UK)Apple/iTunes: (US)#1 Dark All Day (pre-order) insights and consumption data – Electronic (US) #21 Dark All Day (pre-order) and including them as an integral part of movie blogs Overall (US)(UK) #1 Dark All Day (pre-order) the campaign from the launch helped us etc.) to help Electronic (UK) #3 – Album Dark All Day (pre-order) strengthen and develop Ingrooves’ and spread the word of the competition and the band’s relationship with Spotify. playlist takeover – helping to drive organic Spotify were particularly happy that engagement and present them to new, we were working with them in a way that relevant fanbases and drawing them into ! campaign breakdown innovated upon their usual partnership the world of GUNSHIP. methods and in a way that would appeal Using the data gathered from the to followers. INgooves also campaign launch, we were able to CAMPAIGN BUDGET £5,001–£10,000 used some of their Spotify ad allocation to optimise and hyper-target the album pre- AUDIENCE DEMOGRAPHIC push the playlist, with ad creative coming order launch and help them accurately AGE: 19-24, 25-34, 35-44 from the band themselves. The band target the different segments of their AUDIENCE GENDER (M/F): 80% / 20% called upon some of their counter-culture fanbase, helping to maximise revenue LOCATION: US (LA/NY as key focus), UK, Germany, ROW influencer fans (gamers, Kat Von D, horror opportunities and ease the path into

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Team members involved

Henry Whittingdale – marketing manager, Columbia Records Edd Blower – senior digital marketing manager, Columbia Records Tom Stabb – digital marketing manager, Columbia Records Mark Gillespie – Three Six Zero management Carly Mann – Three Six Zero management Shania Young – Three Six Zero management

Overview of campaign on-platform in a bid to sustain engagement. These “glitch Calvin Harris began 2018 by declaring that ads” were specifically designed to disrupt the user interface of he had “fallen in love with Facebook and Instagram – and they were the best-preforming again”. Determined to bring creative of the campaign. back to the global charts, Calvin was clear that he wanted to make a clean break Results & key learnings from 2017’s Funk Wav Bounces Vol. 1 project and focus on the Nineties house playlist in its own right. Over the course Tailored audiences & disruptive ad creative: • Biggest-selling single of the year in the UK with ‘One Kiss’ sounds that first inspired him. of the year, we added over 110k followers We started our digital advertising • 14x weeks at UK #1 across two releases (the joint highest of any One of the key tent poles of the to the playlist on Spotify (a total increase campaign with two objectives: first re- artist in 2018) campaign was Calvin Harris Radio. of 360%) and recently launched it on Apple educate Calvin’s audience on his return to • Over 9m single sales worldwide across ‘One Kiss’, ‘Promises’ & ‘Nuh Curated solely by Calvin and updated Music and Deezer. dance music; second engage the fanbases Ready Nuh Ready’ weekly, the playlist served as a sonic As a label, our task was an obvious one of the featured artists and migrate them • 360% increase in followers of Calvin Harris Radio template for the change in musical – ensure these releases are the biggest to Calvin’s. Aware that we needed to talk direction showcasing both his new of Calvin’s career to date. In order to to each audience in a different way, we material and its influences. Aware that achieve this, we engaged each of the developed bespoke creatives for each ! campaign breakdown promo opportunities would be limited, this DSPs to negotiate a content-led plan of our targeting segments, capturing playlist became the key reference point in that would deliver maximum profile. At additional content such as the ‘Promises’ our re-education of Calvin’s fanbase. Spotify we launched vertical videos for live video to ensure we had a creative to CAMPAIGN BUDGET £25,001+ Combining organic social with a paid both ‘One Kiss’ and ‘Promises’ that were engage every audience. AUDIENCE DEMOGRAPHIC digital campaign, we placed the playlist at profiled globally, while at Apple Music As the success of each song grew we AGE: 14-18, 19-24, 25-34 the centre of our online campaign, linking we negotiated a 24-hour premiere of the looked to broaden out our targeting to AUDIENCE GENDER (M/F): 50% / 50% to specific tracks when promoting the ‘One Kiss’ official video in return for AAA a more passive audience, switching to a LOCATION: UK singles, as well as spending behind the support. disruptive creative designed cut through

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London to raise money for the House of St Barnabus’ Women’s Shelter. We introduced the new Island House to some of our community members, collaborating with Nando’s who provided food on the evening and also updated the members on their new campaign to help fight Malaria in South Africa. Our work with the Co.Lab community not only reinforces Island’s values of being a which is open to ideas, brings fresh talent together and gives them new opportunities to grow – but also keeps us inspired and enthused.

Results & key learnings

So far there has been almost 20 Co.Lab events and over 50 collaborations. At Island’s annual O’sea Island Getaway, Co.Lab entertained 40 creators and digital contacts with a potential reach of 2.8m followers.

Team members involved networking events, outreach and with different talent, communities, brands community call-outs. and charities. Faye Williams – senior digital marketing Island Co.Lab offers opportunities to Co.Lab celebrated its first birthday manager, Island Records UK work with artists and partners, giving the in February by sharing ‘love stories’ of community the chance to build their own creatives who had met at the events and Overview of campaign profiles and portfolios. expanded their networks. A closed resource (Instagram account) Co.Lab events have also given Island In its second year now, Island Co.Lab Co.Lab, which is on its way to 500 artists the opportunity to perform to a continues to work with talent with members, is small but perfectly formed as creative crowd, and community members ! campaign breakdown substance, those who are making each member is carefully accepted based have brought another layer of creativity moves in their circles and contributing on their skills and enthusiasm to join the to their launches, for example the to culture. community. collaboration with the WAH community to CAMPAIGN BUDGET £0–£500 The creative resource of dancers, Regular low-level events (networking celebrate Angel’s WOMAN album launch. AUDIENCE DEMOGRAPHIC DJs, stylists, bloggers, video extras, drinks, dinner and artist events) bring new The events also often allow creatives AGE: 19-24, 25-34 photographers, videographers, talent in to the community. Each event to give back – we helped the Mayor of AUDIENCE GENDER (M/F): 50% / 50% communities, visual artists, brands and has a different collaboration mix each London announce his London Needs You LOCATION: UK charities has been built up via regular time, allowing us to explore partnerships Alive campaign and collaborated with BBZ

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Team members involved to Amazon UK rather than a multi-retailer link. On release day, we ran heavy advertising across Tanya Palaci – interactive marketing Facebook, Instagram, YouTube and Google AdWords. We manager, The Orchard created pre-roll videos to be used as the creative for the Alex Berry – label manager, The Orchard ads to give fans something visual with the artist’s music Monika Six – online marketing / product overlaid. Fans of both Myles and Alter Bridge were then manager, targeted using the remarketing data was had gathered from Billie Klein – senior product manager / A&R, historic campaigns. As there was only one official video live Napalm Records able to see conversions before album release, it was difficult to put together different Airene Resurreccion – associate art director, of how many people versions of creatives to use across socials and advertising, The Orchard followed through with but we managed to work together with the label and our Michell McCool – interactive designer, their transactions. We design team to put together an animated packshot trailer to The Orchard were multiple D2C stores set up across wanted to use an image incorporate into advertising so that fans wouldn’t be served the Peter Lum – interactive designer, the global territories between the band to promote this ad on Facebook same creative over and over again. The Orchard and the label, we created a geo-targeted and Instagram in order to showcase the Jonathan Ellis – interactive designer, tracking link which could drive fans to a various products and bundles available to Results & key learnings The Orchard store within one of the specific territories purchase across the store in the UK. based on where they clicked from. For Amazon UK was a key player in our • #12 UK Official Chart Overview of campaign example, any fan clicking from within push to the older fanbase with the • 50% increase in Spotify followers from when the campaign started the UK would be taken to the Townsend album charting at #3 in the Amazon Hot • Total of 15,320 clicks for the entire Year Of The UK marketing Having worked with Alter Bridge via Store, anyone in the rest of the EU would Releases across the platform. We set up campaign Napalm on their previous album, The be taken to Napalm Records official label Headline Search and Product Display ads • #3 in the Amazon Hot New Releases chart Last Hero, we were able to gather a clear store, and anyone outside EU would be across Amazon Marketing Services in the • #1 on the iTunes Top Albums chart in the UK understanding on the target fanbase for taken to the Myles Kennedy’s official D2C UK to drive traffic to the various different • 97% increase on the artist’s official YouTube Channel lead singer Myles Kennedy’s debut solo store located in the US. formats of the album. • 7,735 total sales in the UK (6,028 of which were physical units) album, Year Of The Tiger. Via the Townsend Store in the UK, We made sure to target keywords Our team wanted to make sure we we were able to set up a tracking pixel directly related to Myles such as Alter were giving the UK a similar scale of which would allow us to remarket to Bridge, Tremonti, Creed, The Mayfield Four profile to coincide with activity across the users up until the checkout stage. We and Slash to sway fans of these related ! campaign breakdown US, Myles’ largest market. We focused then proceeded to set up a campaign musicians to purchase the new album. heavily on the physical side of the album targeting fans that had added any format The entire Amazon campaign generated as this format was definitely the most of the new album to their basket on the over 1,200 clicks and 230,000 impressions CAMPAIGN BUDGET N/A popular across the entire campaign. We Townsend store but had not proceeded in the pre-order stage alone. AUDIENCE DEMOGRAPHIC made sure to dedicate a large portion to complete the purchase and reminding To help push sales across Amazon AGE: 18-50 of the campaign directing fans to Myles them that their basket was still full with a even further, we aided our marketing AUDIENCE GENDER (M/F): 70% / 30% Kennedy’s D2C store in the UK via his more personal text copy from the artist’s campaign by pushing additional ads from LOCATION: UK webstore partner Townsend. As there Facebook/Instagram page. We were Facebook and Instagram pointing directly

22 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY dan mangan ARTS & CRAFTS

re-introduce Dan to his core fans and remind them what it Results & key learnings was that made them love him and his music in the first place. Our main tactic in the campaign was to try We needed to communicate and create buzz for the album organically, not that Dan (winner of multiple relying on press support or even DSP pickup. Juno awards) was returning to We wanted to leverage Dan’s core fanbase and his roots after his last album, a activate them to spread the word. We wanted more experimental departure a content-heavy campaign that delved deep from his classic singer/ into Dan’s history as an artist and showed his songwriter material. personality more than ever before. We wanted to communicate that Dan was “back” with his Key metrics: beloved voice and • 100+ shares of fan “flamehead” photos acoustic guitar. We began with leading to countless interactions a soft launch on 13th February, • 10k new Spotify followers since February 2018 leveraging Valentine’s Day by • Daily streams (average) up from 11k to 50k releasing one of Dan’s first true (Spotify) and 2k to 25k (Apple) love songs, ‘Fool For Waiting’. The song is an hilarious and perfect accompanying • Over 1.5m streams for ‘Fool For Waiting’ an ode to his wife and we communicated piece to the song which focuses on the • Top 10 single ‘Troubled Mind’ in Canada: Modern Rock (6) and the idea of finding love. The song was challenge of fatherhood. Alternative (8) accompanied by a beautifully shot video Throughout the campaign we focused • Canadian tour over 50% sold out prior to album release ( Team members involved which touched on the themes we were on super-serving Dan’s core fanbase. We and sold out) communicating. We then released the developed a web series focusing on his Cameron Reed – label & marketing director single ‘Troubled Mind’, a radio rocker. We songwriting process, which will continue Social support from celebrities including: Rainn Wilson, Rob Thomas, Peter Carruthers – label & marketing teased the track with the single art and over the next year. We also developed , Busy Phillips, and more. coordinator launched a social campaign encouraging a multi-camera live-stream gameshow Bled Celhyka – management coordinator people to post photos of themselves with broadcast on Instagram called More Or Kieran Roy – manager of Dan Mangan/ little emoji flames on their heads. Dan Less; the programme was an hour long ! campaign breakdown president of Arts & Crafts then reposted the photos that were sent and fans could vote “more” or “less” to Ian Porter – technical designer / digital to him. control on screen. development This also tied in with the lyric video We also developed a simple playlist CAMPAIGN BUDGET £25,001+ for the song which established our visual app using Spotify’s public API which AUDIENCE DEMOGRAPHIC Overview of campaign aesthetic for the campaign. We would caused users to follow Dan and add the AGE: 25-34, 35-44 continue to release matching lyric videos playlist to their library. Our goal was to AUDIENCE GENDER (M/F): 50% / 50% Our central goal for the release of Dan throughout the campaign, culminating keep Dan’s fans talking about him and LOCATION: Canada Mangan’s More Or Less album was to in the video for ‘Cold In The Summer’ – wanting more.

23 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST USE OF WHATSAPP KARA MARNI Access Records (First Access Entertainment)

Team members involved The activity was covered by Clash Magazine and a video was released the same evening, formally revealing the artwork for the Laura Lukanz – EVP artist development wider-world and touching on the coverage. Benji Gershon – marketing manager Some 7m total streams later, Kara Marni went into her next Ella Barber – assistant project manager single campaign with the record ‘MOVE’ and a tour with RAYE Jay Grey – A&R manager was followed swiftly by a London headline show in November. Tom Fake – digital Results & key learnings Overview of campaign • 120k week-one streams for the lead single of the EP Being a new and developing act, Kara • 7m total streams Marni has been working hard to grow her • 22k Instagram followers audience in the UK R&B/soul scene. After • 1.000+ WhatsApp super-fans (global) a year of touring with acts like Ray Blk and , Kara managed to capitalise on the exposure by connecting with fans in a new way. After each show, she took Polaroids with fans and shared a specially assigned WhatsApp number to those she met. With this number, fans could engage with Kara in a new way, with content being London and mysterious map images were three billboards were covered from top to exchanged in a uniquely personal manner. dropped via WhatsApp, Instagram and tail in a mosaic of Polaroids. Little by little, Throughout the course of two single Facebook with the news that something more super fans arrived and were invited releases, Kara carried on capturing exciting would be revealed. to remove a one-of-a-kind Polaroid for Polaroids throughout studio sessions, On a wet and windy Saturday morning, themselves. For every Polaroid removed, gigs, video shoots and days out the artwork, release date and with friends until boxes of the pre-save URL “EP.KARAMARNI. photos soon stacked up. Over COM” was revealed. 1,000 photos later, and with Instagram Live was initiated ! campaign breakdown the WhatsApp number having so fans throughout the world collected some 800+ engaged could still be involved with what super-fans, it was time to roll was happening. CAMPAIGN BUDGET £2,001–£5,000 into the campaign release for Kara Marni arrived, greeted AUDIENCE DEMOGRAPHIC ‘Love Just Ain’t Enough’ – Kara fans and huddled together for AGE: 14-18, 19-24 Marni’s debut EP. an impromptu EP listening AUDIENCE GENDER (M/F): 40% / 60% A row of three billboards sessions, two weeks before LOCATION: London, Germany, US were set up on Leonard Street, release.

24 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST USE OF AN AR LENS METALLICA VIRGIN EMI / uMC

Team members involved spread the message to an average selfie lens which only requests you across other rock channels “move your eyebrows”, as it requires you to move Sue Armstrong – marketing manager, UMC including our in-house and place a virtual object – which some people may Toni Tuesday – digital marketing manager, brand, Rock Legends. We find complex. The figures show a 64% conversion UMC also created a series of rate from impressions to camera impressions with Shannon Conway – digital creative content GIFs for use on instagram a further 20% taking a photo of the AR lens and their co-ordinator, UMC stories that complimented environment either saving to their device or sharing Ben Alexander – marketing director UK the spirit of the day and tied to their own feed or stories. international, Universal Music it back to the release again. The success and enthusiasm is reflected in James Swindells – creative director, LOUD #MetallicaTShirtDay the sales of the product which charted in the UK Steve Matthews – QPrime was a resounding success at #22, the highest chart position in their reissue Doug Oswandel – QPrime worldwide with widespread series so far (surpassing the last reissue by 16 Dan Nykolayko – Metallica HQ use across Instagram & Twitter. We saw places in week one). Addie Byars – Metallica HQ tweets with dogs in T-shirts, babies rockin’ A real world activation can be limiting, but creating a virtual lead-up release day with the message: Metallica onesies and multiple people equivalent broadens the reach and extends the life between the Overview of campaign “Share yourself wearing your Metallica sharing images of them at work as nurses online and offline. T-shirt to feature on Metallica.com, plus one and doctors with their Metallica logo Superfans can be very authentic voices and storytellers when The objective of this campaign was to lucky winner will win a box set.” This was emblazoned on their chest. It was great engaged with a campaign and are a key part in the success of an engage Metallica fans with the release ensuring that the message of the album to see the AR lens T-shirts being shared activation like this. of ...And Justice For All: Remastered in an release wouldn’t get lost in the noise of alongside the ‘real’ T-shirts and to see the AR lenses are a great asset for a campaign, but with body tracking interesting and innovative yet profoundly #MetallicaTShirtDay. Metallica community come together and not yet being available on Facebook, we faced multiple hurdles “Metallica” way. In order to widen this beyond the show their love for the band and a great when developing a lens that added a T-shirt to a user. We had to We drew on the iconic imagery of the traditional Metallica core fanbase, we album in their history. rely on facial recognition which wasn’t without its issues – meaning artwork immediately as inspiration for our worked with LOUD on creating a Facebook we ended up with a lens that required extra interaction from a marketing and knowing the popularity of camera effect that would place a Metallica Results & key learnings user beyond the usual “move your eyebrows”. This meant a long Metallica T-shirts as well as superfans’ T-shirt on you or a friend, should you development time. great pride of their collections, we created not have your own. LOUD developed a We considered #MetallicaTShirtDay to be #MetallicaTShirtDay – a way for fans across method of detecting whether the user was a success the moment we saw fans from the globe both to celebrate the release and shaking their device and used it as a simple around the world sharing their love for ! campaign breakdown to bring them together with a united love of interaction to switch between two original the band, their posts surpassed 3,500 on Metallica and ...And Justice For All. ...And Justice For All T-shirt designs. This Instagram, reached more than 2m people on This was to take place on release date AR lens launched on #MetallicaTShirtDay Twitter and saw some great rock accounts CAMPAIGN BUDGET £5,001–£10,000 (2nd November), so ahead of time we in the hope that people would use the lens supporting it such as Kerrang! magazine. AUDIENCE DEMOGRAPHIC created assets featuring multiple famous creatively and add T-shirts to pets, friends, The AR lens was a really interesting and AGE: 25-34, 35-44 monuments/people from around the world monuments... pretty much anything! engaging element to the day that saw 40k AUDIENCE GENDER (M/F): Male skewed in ...And Justice For All T-shirts. These Alongside the lens launch, we used people engage with it. The functionality of LOCATION: Global were seeded out via socials/eCRM in the owned social channels, eCRM and PR to the lens was sophisticated in comparison

25 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY M.O

Team members involved M.O from other to consuming channels and from M.O. Oliver Hunter – digital marketing manager surround the For the Danny Ingham – influencer marketing audience with engagement Lucy Dann – marketing manager messaging, not phase we needed Paddy Maclean – head of streaming just from the girls’ personality, Pia Ashcroft – Lucid (management) own channel. character and Charlie Lycett – Lucid (management) This also focus on keeping Rianne Gordon – Be-Hookd (social agency) allowed us to consistency in and then Lucid (management) tap into custom visual identity. audiences of the The key audience M.O’s presence. New single ‘Wondering’ has done over 2m streams Overview of campaign GRM channel. strategy here and growing. Over the course was to use the Social channels have grown by 70% and YouTube subscribers are Over the course of nine months, we have of the first two scale built from now closing in on 100k. built a progressive campaign on M.O that months of the the videos in the We found that covers drove huge view-through rates, picking is led by content and digital marketing campaign focusing on this London-based awareness phase, carve custom audiences songs that people know and love and filming M.O’s incredible vocal strategy. We created an unprecedented urban audience and then growing beyond of people engaging with 3%, 25%, 50% & takes to drive mass shares – each week creating mini viral moments suite of assets – from lo-fi performance clips this to include an audience of more general 100% of the videos and ensure that each around their covers, building audiences in the process. From and memes, to influencer collaborations and pop fans matching the streaming growth audience received a frequency of unique to , we drove 3.7m video views over the key two months interviews, to topical covers and countless and awareness of radio and charts. Custom and fresh content every week to continue of the campaign from February to April. Our cover of ‘God’s Plan’ – dance videos. audiences and their growth and remarketing to keep M.O in their news feeds and drive filmed on a desk at the Kiss office on a mobile phone, right at the In an attention economy, the value of our then became the integral success of the emotional connection to the artist. We saw point of the track blowing up the charts – drove over 5k shares and endless and consistently refreshed pool of campaign strategy. engagement rates go up 8x when targeting did over 1m views on Facebook – we essentially tapped into the content proved invaluable at each point in The absolutely essential part of the our custom audiences from the awareness virality. Covers of Lauryn Hill, TLC & ’s ‘No Words’ also proved our marketing campaign. To be exact, we campaign was the ad strategy. We used phase compared to keyword targeting. hugely engaging – each one dropping just before the and captured over 1m minutes of our audience’s Facebook’s advanced advertising targeting having support from lightweight ad spend to fire the early virality. attention on Facebook alone. potential to employ a classic marketing Results & key learnings With the features on the track sitting funnel strategy to drive awareness, firmly in the urban world, we kicked engagement and response on our artist. ‘Bad Vibe’ became a massive hit, by far the ! campaign breakdown the campaign off with some essential Of key importance was the audiences of girls’ biggest track and one of the standout repositioning – partnering with GRM on people that we then built from these videos successes of the year: 600k sales to date, YouTube and socials platform to relaunch the custom audiences of people that we 87m streams and over 20m official video CAMPAIGN BUDGET £25,001+ M.O with brand-new member Chanal. knew had been exposed to M.O – targeted views. It peaked in the OCC at #18. AUDIENCE DEMOGRAPHIC Not only did this organically tap into the at first to GRM and then spreading out to Subsequent features with Crazy Cousins AGE: 0-13, 14-18, 19-24 dedicated audience that GRM has on a broader pop audience. We followed this on ‘Wifey’ & ‘Pon Me’ released with GRM AUDIENCE GENDER (M/F): 30% / 70% YouTube, we were able to partner deeper audience with ‘Bad Vibe’ performed in the then also racked up over 7m Spotify streams LOCATION: UK (London-centric) and use their brand and page to promote same lo-fi style that this audience was used and 4m on YouTube, continuing to grow

26 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY FICTION RECORDS / NICK MULVEY CAROLINE INTERNATIONAL

Team members involved

Nick Mulvey – artist Lisa Ward – Vector Management Dominic Louth – international head of digital, Caroline International Andy Betts – digital marketing manager, Caroline International

Overview of campaign album launch budget over a longer period of time. And We have faced the challenge of sustaining having a full team including and growing Nick Mulvey’s streaming and promotions, live, label, sync, commercial and marketing UK and social media numbers post-album release international who all believed in the long term and weren’t when traditional markers, radio, TV press, demotivated by traditional markers not firing when expected. were not fully firing. Our campaign is still ongoing and it has been 15 months since Results & key learnings Now was released. Together with label, management and Using Spotify as a marker with their monthly listeners figure: artist, we developed a post-album release • Wake Up Now was released on 8th September 2017. At the end of and live strategy that covered the musical release month, Nick was sitting on 1.7m monthly listeners. evolution through three tours giving so • We have sustained Nick’s figure at over 2m for the following 14 much life and new experiences for fans. months at a current recent peak of 2.5m as of early November. We This generated organic content that could have seen similar growth cycle at Apple, Deezer, Amazon & YouTube. sustain the social conversation. Our main • Spotify Followers – 60k on album release; currently we are on 122k activations have been around: as a conscious strategy decision. This Alongside this strategy utilising our followers (a 103% increase). • Full five-piece band tour + live recorded was not always easy, but created deep data tools, we were able to identify and EP full band connections with fans via his preferred nurture what we’ve been referring to • Follow up tour as a trio + demo channel of Instagram. We worked as a “seasonal” playlist strategy with ! campaign breakdown recording together by a WhatsApp focus group DSPs. Especially for Nick who has, across • Solo totally stripped tour + solo live that helped answer questions, encourage his two albums (First Mind and Wake session EP and share the positivity coming from Up Now), built up a repertoire of songs CAMPAIGN BUDGET £501–£1,000 this strategy. The content we created that consistently sit and perform well in AUDIENCE DEMOGRAPHIC To help tell this organic story, we worked was ported over to other social media Spring, Summer, Autumnal and Winter AGE: 19-24, 25-34, 35-44 directly with artist and management, platforms including new usage of playlists. AUDIENCE GENDER (M/F): N/A helping deliver and honesty and detail Instagram TV, Stories and YouTube This campaign was less about money LOCATION: UK focus with global reach via playlists & socials in the comms from Nick direct to fans Community. and more about spreading a traditional

27 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY NINA NESBITT

Team members involved

Marcus Knight – product & marketing manager Rachel Stoewer – head of digital Louder Together campaign, bringing three female artists together Michelle Polley – head of international to release an original song for the first time in Spotify’s history; Sam Difford – marketing assistant and then a second session recorded in London with a gospel choir. Christopher Haritçalde W – digital assistant Nina is one of the few artists in the world to have been given two Spotify Single sessions. These social media and streaming strategies Overview of campaign helped expand our reach and has substantially grown our fanbase, completing the circle of marketing. Our aim was to grow Nina’s profile in the lead-up to her album announcement by Results & key learnings utilising the power of her fanbase and DSP support. We soon realised the synergy Via the mentioned strategies, Nina’s social audience and DSP between digital platforms and fans would presence have grown immensely. On Spotify, one month after be our source of success in this campaign. our first track launch with ‘The Moments I’m Missing’, Nina had One effective strategy was to ask fans approximately 615k monthly listeners and now she sits between to create their own DSP playlists based 4-5.5m week-by-week. Nina has amassed over 120m streams around (and including) Nina’s single (i.e. for (Nina’s signature imagery for this campaign), across platforms worldwide on five focus tracks and their alt ‘’, we asked fans to create some of which included a Spotify QR code versions. We’ve been included in over 600+ DSP-branded playlists, a mixtape of songs they would share with to stream her new music, and mailed the including #1 in Spotify New Music Friday UK and maintaining someone special around Valentine’s Day). stickers to fans all around the world. They iTunes Pop Chart status for 16+ weeks at a time. Nina’s YouTube It helped increased plays and saves on were asked to stick them in interesting or channel has grown from 62k subscribers to 300k. We’ve also our focus single and also encouraged fans significant locations in their cities, posting secured well over 1,000+ album pre-saves in the first week of our to share Nina’s music to their socials. We evidence on their socials. This created great album announcement. replicated this idea across different tracks, physical and online awareness of Nina and making alterations each time to keep the her music. concept new and interesting. We also used By igniting the fanbase, we feel it ! campaign breakdown the fanbase to drive a high level of streams created a camaraderie of Nina Nesbitt during the launch of a new single by asking fans (aka ‘Nesbians’) working together to them to “stream to unlock” the official video. strengthen her position at DSPs, resulting CAMPAIGN BUDGET £501–£1,000 We hosted a progress bar on Nina’s website in good playlist support and marketing, AUDIENCE DEMOGRAPHIC driven by streams; and once it reached 100%, including two competitor billboards in AGE: 14-18, 19-24 the video unlocked. New York for the same single. Spotify gave AUDIENCE GENDER (M/F): N/A We also reached out to fans in the real Nina the opportunity to take part in two LOCATION: Global world by producing lotus flower stickers Spotify Single recordings. The first was their

28 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST FAN CURATION NOW THAT’S WHAT I CALL MUSIC FAME HOUSE / UME

Results & key learnings

The 20th anniversary release and voting campaign generated thousands of voting entries and reached hundreds of thousands of fans. The campaign served as a successful way to generate awareness of a legacy brand in a key marketing moment, as well as engage old and new fans alike to come together and create the album and playlist that they wanted to hear. Various publications eager to find out if their selected track covered the release and campaign including Vulture, , and made the album. NOW teased the The Ringer. countdown to the reveal with a series of videos on their social channels that utilised the nostalgia of the series. These videos featured snippets of the original NOW 1 commercial, all of the NOW covers through the years and imagery from the 20th anniversary campaign. Following Team members involved anniversary since the introduction of these teasers, the track list was revealed the first, iconic NOW… CD in the US. To on NOW’s online store on 5th October Deb Keller, Brittney Bomberger, Caitlin mark this milestone, Fame House and 2018, driving fans to discover the track Vivian, Allison Hackel, Elizabeth Fanfera, NOW developed an interactive digital list as well as the 20th anniversary Demi Ferrera, Sophie Boltz – all Fame House campaign to engage fans leading into merchandise collection. Jerry Cohen – NOW Music the release. Highlighted each week over In addition, Fame House and NOW also Jeff Moskow – NOW Music a total of 20 weeks were two of NOW’s worked with bot platform Stashimi to Chris Dashwood – UMe most-featured artists of all time. Fans launch an interactive Facebook Messenger Harold Guitierrez – UMe voted for their favourite track from each experience built with NOW’s superfans in Judah Joseph – UMe artist. When submitting their vote, fans mind. Fans could use the bot to browse Jason Cruanas – UMG supplied their email address to opt into NOW’s catalogue of releases, test their Menning – Sony Music marketing and were entered to knowledge of NOW artists and songs via ! campaign breakdown Kyle Sherwin – Sony Music win prize packs including the entire NOW quizzes, learn fun facts and access exclusive Andy Goff – Spot Creative discography. The winning tracks made content around the anniversary. their way onto the NOW 20th anniversary Lastly, iHeartRadio supported the CAMPAIGN BUDGET $7,000 Overview of campaign album itself (including the playlists on anniversary through digital marketing and AUDIENCE DEMOGRAPHIC Spotify and Apple Music), creating a truly in-studio live drives to vote on the album’s AGE: 18-34 In 2018, the best-selling music fan-curated album. tracks from personalities including Elvis AUDIENCE GENDER (M/F): 20% / 80% compilation series of all time, NOW That’s The track list reveal was a marketing Duran, Hollywood Hamilton, Johnjay & Rich LOCATION: US What I Call Music, celebrated its 20th moment in and of itself as fans were and Mario Lopez.

29 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST USE OF LIVE STREAMING Barbora Poláková SUPRAPHON

Team members involved • The main live-streamed music video was shot in one take • Before the main live stream, there had to be several Barbora Poláková – artist rehearsals to cover the technical aspects of broadcasting and Alexandra Wolfová – manager timing everything according to the screenplay Michal Máka – marketing manager, • Shooting took place at a small airport near Prague Supraphon • Audio signal (for the song ‘2-8-5’) was routed from the Lukáš Kadeřábek – PR manager, Supraphon source (soundcard master out) both to in-ear monitoring Martin Kudla – A&R, digital marketing, system (two wireless bodypacks) and PA monitoring system Supraphon which was placed over the shooting area to cover the Jakub Machala – director whole place. All participants were able to stick to the script Mikuláš Hrdlička – film editing synchronised with music. Eallin s.r.o. – post-production • The sound engineer had to develop a special custom-built Jaromír Čížek – sound engineer device similar to handsfree for routing the signal (the song Jan Vlček – stage design ‘2-8-5’) to a Nokia smartphone. Jan Kapoun and Adam Uzelac – lighting • Heavy data consumption in the area required signal Teaser and additional content Preparations and planning: amplification by strong Sennheiser antenna. The whole area Overview of campaign was shared by each contributor • The theme of the lyric corresponds was covered by Wi-Fi. during and afterwards the live to the topic of the music video, which The main goals of the campaign included stream, with special hashtags is seeing the physical world through Results & key learnings promotion of the artist’s new music video, being used (#285tosemilibi and social media and making virtual to get as much reach as possible, create #PrvniZivyKlipVhistoriiVesmiru). friendships etc. • 34% growth of fanbase on Instagram buzz around the release, target outside of • 10% growth of fanbase on Facebook regular reach on socials and increase the • Facebook metrics “Talking about this was” increased almost seven size of her fanbase. times The campaign ran for five weeks (from • Expanding the number of followers from different areas 22nd August to 1st October). The main channel was Instagram and posts were cross-posted to Facebook, with the final cut premiering on YouTube. ! campaign breakdown The peak of the campaign was a live-streamed music video on Instagram with many influential artists, actors CAMPAIGN BUDGET £1,001-£2,000 and bloggers who also made their own AUDIENCE DEMOGRAPHIC live streams and created additional AGE: 25-34, 35-44 content. Around 20 of the most popular AUDIENCE GENDER (M/F): 25% / 75% YouTubers/influencers in the Czech LOCATION: Czech Republic Republic were involved in the live stream.

30 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY RAY BLK ISLAND RECORDS UK

Team members involved

Faye Williams – Island Records George Simpson – Island Records Claire Mas – Island Records Corbyn Asbury – YouTube

Overview of campaign

On the Monday night of Ray BLK’s Empress project release week, we worked with YouTube to take over the YouTube Space London and celebrate with a mix of over 100 of Ray’s family, friends, super fans, radio, press and brand contacts, bloggers and influencers. of ‘Empress’ represents. She Also invited were some of the young performed four songs and took questions people Ray has worked with throughout the from the audience, while visuals artists campaign on her shoots and schools tours, doodled on enormous sketchpads around as well as some others from the likes of the venue. The atmosphere was distinctly Stephen Lawrence Trust and Island Co.Lab asking fans for questions, and favourites Records Instagram Stories wholesome, feel-good, supportive.” who were given special insight in to curating were chosen to be part of a Q&A on the for the evening, providing an insight to the Creating a moment around project release, the event gave Ray’s the event for their experience night, allowing more fans to be a part of the evening for more Ray BLK fans. her peers and contacts an opportunity to spread the word and we Covering issues surrounding gun and celebration. During the day, Ray also spoke to 20 saw a social media reach of over 4m from YouTube on the ‘Mama’ knife violence, reinforcing self-worth, Joining Ray on the stage was Yasmin students from the Stephen Lawrence video release to 230k Twitter followers. Further support on videos relationships with friends and family and Evans who asked Ray the chosen questions, Trust who were in the Space to learn about from the evening from YouTube is also being confirmed. more, Empress has a message for everyone which lead into a premier of Ray’s new video creating content to amplify messages they and we wanted to bring this to life on the for Empress track ‘Mama’, released that are passionate about. night with an experience of art, music and day. After a short break, when a selection of ! campaign breakdown conversation. savoury and sweet were served, as Results & key learnings On the days running up to the event, we well as Empress-inspired cocktails, Ray then asked fans to tag a friend in Ray’s social performed five tracks. This included a first The result was a really exciting evening CAMPAIGN BUDGET £25,001+ posts who they thought was an Empress or time very special performance of ‘Paradise’, with a tone which genuinely aligned with AUDIENCE DEMOGRAPHIC Emperor and why. Island Co.Lab members a track which was inspired by the passing of everything Ray stands for. AGE: 0-13, 19-24, 25-34, 35-44, 45-59, 60+ then used the words to create live Empress- one of Ray’s friends, which naturally evoked A review from NME explained: “At AUDIENCE GENDER (M/F): 50% / 50% inspired art on a 7x7ft canvas. Ray also a raw, emotional, teary reaction from Ray. YouTube’s swish north London studio, an LOCATION: Global posted an Instagram Story question sticker Ronie Bond blog took over the Island event for family and fans – a celebration

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building an audience and encouraging active listenership. These engaged audiences are then more likely to become more aware of future releases or artist activity and contribute to the visibility of the artist as a whole. For example, if they follow an artist on Spotify they will be told when the artist releases something new. Team members involved Results & key learnings Rachael Botur – commercial marketing manager, Warner Music Australia The uplift on Spotify for RHCP’s catalogue during the campaign period was extremely positive, with Australian daily streams Overview of campaign doubling (from approximately 200k to 400k) on announcement day and remaining at least 50% up during the rest of the campaign (100k+ To coincide with the announcement of the per day). A similar pattern was seen on Apple Music. Red Hot Chili Peppers’ Australian tour in 2019, we ran a campaign to drive the band’s back catalogue on streaming services. This included ! campaign breakdown Facebook and Instagram dark posts from the artist’s profile, Instagram Stories video, as well as Spotify on-platform video takeover CAMPAIGN BUDGET £501–£1,000 advertising. We used a “greatest hits”-type AUDIENCE DEMOGRAPHIC sizzle /pre-roll for the creative to visually AGE: 25-34, 35-44, 45-59 and audibly remind the audience of the when the tour is first announced and fans moments should be utilised and given focus AUDIENCE GENDER (M/F): 70% / 30% extensive catalogue of great songs. are thinking about (or need reminding as we learn that it’s not just about the new LOCATION: Australia We wanted to capitalise on the moment of) the artists’ back catalogue. These key release – it’s about all songs, and about

32 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST RETURN ROBYN ISLAND RECORDS / KONICHIWA RECORDS

Team members involved feature, targeted at her fans and fans of similar artists – which hit around 1m Angela Grech – senior marketing manager, users via the iOS homepage of the app. Island Records UK The Honey campaign continues, as Will Beardmore – senior digital marketing we progress into unveiling Robyn’s first manager, Island Records UK proper music video in six years, which Lauren Evett, Abigail Hyland, Ida Lyxzén, will be for the song ‘Honey’ – featuring Eric Harle – all DEF Management fans who submitted ‘audition tapes’ online for the chance to star Hannah TW – Konichiwa Records alongside Robyn. Claire Higgins – CYOA Robyn Elton – CYOA Results & key learnings Gustav Crener – Red Bull Adrian Berggren – Red Bull Robyn’s Instagram following has grown by 34% and her Facebook page reach has exceeded 1m through multiple moments in the Overview of campaign campaign. Nearly 3,000 of Robyn’s biggest fans have now joined her group. Robyn’s Honey album campaign, her first Gifs launched through the past year have had over 13m views on studio album in eight years, started in Giphy, with the stickers enjoying wide usage. February this year with a simple exchange The ‘Missing U’ A Message To My Fans film launched to over half with an impatient fan who asked Robyn on fans where they listen to Robyn songs all was first revealed in the group (with a video a million combined views within 24 hours and the Missing U single Twitter, “Who decides your album release night – and exclusively previewed her new message from Robyn using the filter). launched at #1 in the Spotify Global, US and Swedish viral charts, #4 date?” Robyn responded with a simple yet single, ‘Missing U’. This was all documented Robyn partnered with Red Bull to play a UK and #5 Australia viral charts. ambiguous tweet, “I do. Some time this year in a short film titled A Message To My Fans secret show, which was a key pillar in the 500 pairs of tickets were distributed to fans via the Red Bull honey” – which prompted widespread online which complimented the release of first album campaign. Fans were only able to Secret Gig app, with demand way exceeding capacity. “Swap Meets” coverage with media and fans. single ‘Missing U’ as our key visual piece for gain tickets by playing a specially built game happened all over the world, with Konichiwa Bitches helping bring Antsy for more music, and already this song. via an augmented reality Pokémon Go-style the fans together to organise these. familiar with the Girls song [a version of We created her official Facebook Group app, which saw fans from all around the ‘Honey’ appeared in the TV show in 2016], and invited the fans behind This Party Is world participate in physical meet ups to her fans started demanding that she Killing U to come and moderate it. The fans exchange tokens and progress through the ! campaign breakdown #RELEASEHONEYDAMNIT. Continuing to love it, coming together in the group for leader board. Konichiwa Bitches played a play the tease, Robyn, in a Red Bull panel all key campaign moments, from Hottest huge part here too. with friend and collaborator , took Records to big press moments. Robyn Twitter gifted Robyn a hashtag emoji CAMPAIGN BUDGET £25,001+ on the mantra herself, shouting “Release herself occasionally surprise comments/ on album release and Spotify launched a AUDIENCE DEMOGRAPHIC ‘Honey’ damnit!” at the end of the interview. participates in the group. For example, she new storytelling format for mobile, which AGE: 19-24, 25-34, 35-44 That same night, she then appeared as a exclusively revealed her first live show in used slides to tell the story of the album. AUDIENCE GENDER (M/F): All surprise guest at This Party Is Killing U – an eight years to the group. We also developed Spotify also made Robyn the first artist to LOCATION: Global - focused on US, , UK annual party her fans host for other Robyn a Facebook Camera Effect for Honey which be profiled in their new Richer Storytelling

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Team members involved Results & key learnings

Amy Wheatley – general manager • Sigala jumped from #187 to #150 in the most-streamed artists on Negla Abdela – senior digital marketing Spotify over the album campaign. manager • Spotify monthly listeners peaked at 12.8m – a new high for Sigala Adrian Binns – digital marketing manager • During Summer Of Sigala, we saw the highest ever listener and James Farrelly – digital strategy manager stream count for Sigala within a 24-hour period (2.4m streams Kathleen Turner – senior account manager across 1.4m listeners) (sales) • Spotify profile followers now at 630k – up from 482k at the start Samantha Mckenna – junior account of Summer Of Sigala and exceeding our initial target of 600k (a 30% manager (sales) increase in followers) Charlie Arme – Tileyard Management • A push on Sigala’s own playlists saw a 22% growth compared to 8% Sophie Dorrington – Tileyard Management growth in the previous 84 days Behook’d – social media Rock and an after-party at Ibiza Rocks. start of our playlisting activity, alongside • Broke through 1bn catalogue streams on Spotify globally during (The flights and hotel rooms were paid the SigalaLand Ibiza event and social media Summer Of Sigala Overview of campaign for by Sigala himself as a thank you to branding/messaging, this playlist was one • Facebook livestream reached 675k people in the first 48 hours and everyone who contributed to the album of the key assets used in communicating drove over 91k interactions (with super-high engagement rate of 13%) Summer Of Sigala streaming and socials and the venue was provided for free so the that this was the start of Summer Of Sigala • Facebook page likes: +1200% / • Facebook page views: +43% campaign objectives: marketing cost to the label was zero.) and was pushed prominently on socials. • Facebook post engagement: +53% / • Facebook post Reach: +17% • To grow Sigala’s Spotify followers to We live streamed Sigala’s DJ set teasing For Radio, we created a • Instagram followers: +270% and #SummerOfSigala had a combined 600k by the end of the campaign album tracks on Facebook and guests series of three radio show-style playlists, reach of 5m+ in the first 24 hours • Increase engagement on Sigala’s social documented their experience on social each with purpose-created liners from • Twitter: #SummerOfSigala reached over 3.3m users and 6.7m channels media using #SummerOfSigala. Sigala. Each episode introduced the earned organic impressions • Maximise and extend Sigala’s reach by At the start of the campaign, Sigala did current focus track and also teased the working with featured artists not have enough official tracks released to featured artists on upcoming singles. The Overall we saw increased conversation and engagement around • Increase general awareness for Sigala, trigger of a This Is Sigala playlist prime example being Sigala teasing The Sigala’s brand and an uplift in discovery across all of his social profiles. a key focus of building the profile for any on Spotify, so it was important for us to own Vamps feature weeks ahead of the official producer/artist. the editorial voice on the platform. announcement. We created two clear playlists on Spotify: We partnered with Amazon to create an ! campaign breakdown To kick start the Summer Of Sigala, we Summer Of Sigala was an artist-curated exclusive takeover of their flagship dance threw an album launch party to announce playlist comprised of pop-leaning dance playlist, Ultimate Summer Dance Anthems. the Brighter Days album and flew 100 tracks for Summer; the second was Brighter Sigala took over curation duties for the CAMPAIGN BUDGET £0–£500 people on Sigala Airways for a 24-hour Days Radio, a radio-style show (with vocal playlist and it was advertised on a number AUDIENCE DEMOGRAPHIC party in Ibiza. The guestlist included the idents) focusing on Sigala’s catalogue of outdoor sites across the UK and was AGE: 14-18, 19-24, 25-34 album’s featured artists, , fans, intended to keep listeners streaming for a featured heavily across Amazon’s websites AUDIENCE GENDER (M/F): 50% / 50% influencers and supporters – and they all longer period of time. and services. LOCATION: UK enjoyed a beachside party at Tatel Hard The Summer Of Sigala playlist was the

34 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY JORJA SMITH THE ORCHARD

Team members involved Your Own’, official Giphy channel, All from The Orchard: Lost and Found Dan Griffiths – senior director, interactive playlists and cultivation of Jorja’s Collection playlist. marketing, James Moodie – director, As 2018 draws to a close, Jorja is currently on tour in the US artist services, Anette Collins – director, and we have prepared a Snapchat geofilter (based around her international artist & label marketing, video for ‘On My Mind’) that is localised to every date on the Marissa Putney – senior director, tour so that fans can share a unique moment with their friends international label management, Ryan socially. This will build into the release of new single ‘The One’ Whitman – manager, interactive marketing, which will reignite our marketing efforts leading into Christmas. Aaron Ford – director, digital advertising, Emma Hawkins – manager, digital Results & key learnings advertising, Airene Resurreccion – associate art director, Michell McCool – interactive featured cameo appearances from Mike sale rather than a ‘link click’ or ‘landing • #3 UK Official Chart + charted in 14 territories globally designer, Peter Lum – interactive designer, Skinner, Benjamin Zephaniah, Jaykae and page view’. This not only strengthened our • 100,000+ users have visited jorjasmith.com since we launched Lost Carla Campos – interactive designer Mist and was based in Jorja’s hometown digital advertising efforts but meant that & Found Zubin Irani – FAMM of . With this being our key asset we did not need to pursue sales from fans • 37,000,000 plays on Spotify for ‘ ’ which entered the UK to garner attention before release, we set who had already purchased the record. Top 40 two years after its original release Overview of campaign up a global digital advertising strategy On release week we ran digital • 320,000+ clicks to purchase or stream driven by digital advertising that not only focused on re-engaging advertising in-house across Facebook or social Although The Orchard’s relationship Jorja’s existing fanbase but also looked to (and Facebook’s Audience Network), • 20,000,000+ views on official videos for Lost & Found with Jorja Smith stretched back to ‘On build awareness among associated artists Instagram, YouTube, Twitter, Snapchat • -nominated album My Mind’, the campaign for the release ( Sabre, etc.) and similar and Spotify in order to compliment the • 150,000,000+ album streams of Jorja’s debut album, Lost & Found, artists that were established by our local outdoor, TV and web player advertising • Since the album was announced, the Jorja Facebook page has started a mere six weeks before the teams on the ground in each territory. Our we had planned. These advertisements grown 91% in size announcement of the record’s release. design team built a series of teasers and featured a black and white aesthetic that • 8,000+ followers on artist-owned Spotify Collection playlist Faced with a short lead time to roll out trailers to support the rollout. was designed to pull together visuals that a global campaign we had to work fast To build D2C pre-orders, a pre- were filmed in an array of different styles. to build a new website (jorjasmith.com), sale mechanic was enabled via Jorja’s These complimented outdoor advertising ! campaign breakdown reskin her D2C store, build remarketing webstore partner, Townsend, for a and in-store marketing in HMV pools across socials and create social re- special underplay at New Slang as well culminating in an invitation to perform brandings so that we could be ready for as a second night at the O2 Academy at their annual general meet. Our efforts CAMPAIGN BUDGET N/A the launch of the record. Brixton (which later sold out). We created resulted in a #3 record in the UK with the AUDIENCE DEMOGRAPHIC To refocus attention on ‘Blue Lights’ a Custom Conversions in Facebook Ads album charting in 14 territories globally. AGE: 18–44 (which was originally released two years Manager that allowed us to remarket to Other initiatives on the campaign AUDIENCE GENDER (M/F): 50% / 50% prior), Jorja’s label FAMM commissioned users right through until checkout. Doing included a Vevo LIFT campaign, limited LOCATION: Global a thought-provoking new video which so allowed us to optimise for an actual cassette (lifted from the video for ‘On

35 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY ROD STEWART DECCA RECORDS / UNIVERSAL MUSIC

We used Rod’s iconic voice to create native-feel audio ads, with Rod discussing the album and creative process. Ads ran across Acast’s podcast network, achieving mass reach across a non-traditional audience. We developed a messenger bot concept where the user is prompted to enter their name and choose their favourite album track. The Rod-Bot spits out a bespoke piece of artwork based on the , with their name and song choice, giving them something personalised to share on their socials. something – but need familiarity too. The above was supported with heavyweight TV, To engage our audience with statement OOH, radio and print advertising. marketing that felt energised and excited, yet comfortable at the same Results & key learnings time, we focussed on two angles: • Energy & Art (to position Rod as an • Delivered 15.5k pre-orders, Rod’s highest pre-ordering album, icon and the album, a celebration of surpassing that of 2012’s #1 album Time and 2015’s Another art) Country • Personalisation • Exceeded forecast, delivering 41.2K OTC week 1 Team members involved • Delivered a #1 OCC charting album in Q4 #TheWordOfRod was used across Set for Gold certification (95k at the time of submission) Holli Sullivan – senior marketing manager tools to nod to Rod being of iconic • Exploring personalisation as a theme and testing that Jenni Champion – junior campaign manager status and, in a fun way, bringing approach in our advertising strategy allowed us to fully analyse Sophie Hilton – director of marketing out the energy in the campaign. This also personalised messages tailored to the impact of targeted creative versus general. • The results showed David Heath – senior digital manager linked to the personalised approach. fans in the touring cities. We tested that a highly targeted approach, with region specific creative drives Toby Hawkins – senior digital media planner We commissioned an illustration the geo-specific personalised creative much higher engagement than a catch-all approach. for the album cover and renowned on Facebook, driving 72% CTR above Overview of campaign photographer for a shoot in Rod’s benchmark. home, so that imagery felt aspirational yet We ran a competition where fans ! campaign breakdown The objective for was personal. were nominated by loved ones via a to cement Rod Stewart’s status as a rock We launched in July, allowing time for call out on socials to receive a personal ‘n’ roll legend at 30 studio albums in and the campaign and pre-orders to build. message from Rod. The messages were CAMPAIGN BUDGET £25,001+ deliver a #1 album. Phase 1 focussed on a content strategy aired as adverts on ITV in the winner’s AUDIENCE DEMOGRAPHIC Extensive insight was carried out online to hit our core fanbase. region. Relatives filmed their reactions, AGE: 45-59, 60+ into our key demographic (females 55+), We launched a ticket pre-sale with which were then shared on Rod’s socials, AUDIENCE GENDER (M/F) Female revealing they look for new, exciting HMV, driving 9.5k pre-orders. Bespoke delivering his highest engagement on a LOCATION: Global experiences, wanting to feel part of content was filmed with Rod, using post throughout the campaign.

36 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST USE OF VISUALS SUPERORGANISM DOMINO RECORDING COMPANY

Team members involved time. Working away from the traditional Whether applying on Spotify and so many more frameworks of social media to house the it to our first AI across YouTube and beyond. The All Domino: nucleus of the band’s world gave their frame on Facebook Organism continues to grow. Brooke Salisbury – head of marketing ever-growing and early-adoptive fans a first – allowing users to Will Grant – digital marketing manager portal to truly communicate with the band. superimpose the Results & key learnings (UK & international), Corey Zaloom – digital Its guestbook was key to this; somewhere band’s whale logo marketing manager (North and Latin fans could share their first messages (and to their face for their The dedicated fanbase we sought America), Björn Flòki Bjornsson – digital memes!) with the band directly, and a own use globally and to grow from the very start of our design manager, Glynn Bolter – junior digital portal for us to immediately gather a geo-pushed around campaign were key to word of designer, Bart McDonagh – senior product starting point mailing list and remarketing their high-profile mouth and helping drive a good manager, Johanna McManus – product pool of their superfans for wider activity festival appearances week-one placing for the album’s manager, Laura Vevers – international throughout our campaign. – or their first Giphy release. With D2C proving fruitful marketing & promotions manager With their personal images now taking sticker Instagram set. Even their first foray in generating those numbers, it allowed insight into the fanbase Robert Strange – artist & digital design, shape, the band’s de facto mascot – The into Snapchat, with a bespoke lens built we didn’t have from the start and showed the gaps that needed Superorganism Whale – took centre stage across their video for the launch of album track ‘The Prawn to be filled as we ran into more concentrated activity through the Sam Denniston and Emma Boyle – output and was a key focus in our wider Song’, their brilliance coursed throughout campaign. management, Superorganism digital advertising and brand exercises. We everything we did. It was Instagram that proved the greatest home for the band as only furthered The Whale’s presence as it Ultimately, in creating the band’s digital things progressed. They didn’t have an account at the very beginning, Overview of campaign became the protagonist of a new online imprint from start to campaign finish, but it now stands tall as their largest social channel in terms of adventure to harness both super and casual their online standing has never been follower numbers with over 52,000 [people following them]. With The band’s multifaceted story of their fan interest alike – Superorganism: The stronger. Starting from next to nothing Stories as well as the ever-more-personal feed they were curating of inception – essentially, an internet-based Game became another engaging way for on each of their channels, they now can their own content, it proved key in reaching a younger demographic project spanning three continents and eight fans to engage in the band’s world, as they claim a combined social following of over globally outside of other platforms such as Facebook. Use of Stories band members – proved the starting point took The Whale around virtual worlds based 100,000 fans, with an additional 100,000 also proved hugely influential in terms of engagement with the for our creative vision. Introducing their on the band’s videos to get to the top of the band’s off-platform properties (YouTube content, Spotify listeners debut Domino single, ‘Something For ’s leader board. and followers). M.I.N.D.’, with the band’s first official photo With the debut album released, the and brand new visuals to accompany the band’s creative streak never faltered. track laid the groundwork for our ! campaign breakdown most visually creative campaign of the year at Domino. Re-generating the band’s website CAMPAIGN BUDGET £25,001+ to envelop their web 1.0 aesthetic AUDIENCE DEMOGRAPHIC – think all of your Angelfire and AGE: 14-18, 19-24, 25-34, 35-44 Geocities fever dreams combined! AUDIENCE GENDER (M/F): 65% / 35% – was essential in establishing the LOCATION: Global band’s vision and voice for the first

37 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY TANK & THE BANGAS Verve Label Group / Fame House

Team members involved maximised the impact of the and ultimately answered by the band during the single beyond the band’s core livestream. Alex Hines, James Lee, Kristen Shelley, Haley audience. Lastly, a Snapchat lens was created in order Furman, Emily Levy, Randall Peery, Lawrence To amplify the release, Fame to promote the single to concert-goers during Yamoah, Drew Grahn – all Fame House House teamed up with Verve the band’s performance at Coachella. To reach Label Group for a teaser campaign these fans in person, physical fans were printed Caitlin Colletti, Megan Mark, Michael Allen, leading into the single to build and distributed amongst the Coachella crowd. Justin Jesena, Holly Adams, Hadley Spanier, anticipation amongst Tank’s rapid The back of each fan contained a Snapcode that, Danny Bennett – all Verve Label Group fanbase. This began with four when scanned, unlocked the Snapchat lens which teaser GIFs and videos the week contained illustrated headshots of each member Overview of campaign prior to release which drove fans of the band with ‘Smoke..Chill’ playing in the to sign up for the band’s email list background. The lens therefore allowed fans to NPR Tiny Desk winners Tank & The in exchange for hearing the single share their experience during the Tank & The Bangas Bangas’ first single of 2018, ‘Smoke. before anyone else. Coachella performance while promoting the single. Netflix.Chill’, was set to be released, The single was ultimately appropriately, on 20th April 2018. Due to released on 4/20 accompanied Results & key learnings the strength and timeliness of the single, by a full lyric video utilising a and the band’s upcoming anticipated psychedelic take on the song’s The campaign as a whole was an all-out blitz, propelling performance at Coachella, Fame House cover art was released. The video was drove awareness for the single outside of the song up the Spotify US Viral 50 charts, bolstering Tank and The and Verve Label Group saw an opportunity boosted via a paid media the band’s direct follower base. Bangas’ owned audience, and landing the band’s major label debut in to launch a comprehensive campaign that budget on the band’s social media Next, a campaign called their top tracks with nearly 750k streams to date. with the aim of building an #HowYouChillin was rolled out, asking In all, the single’s campaign came to encompass visual branding audience of viewers to be fans to post videos of themselves assets, multiple user-generated content campaigns that mobilised targeted for future releases listening to the single showing how the band’s audience, as well as an outside-the-box means of and other milestones for the they prefer to unwind and chill. Top fan expanding the song’s digital release into the physical world via the band. submissions were collected into a video band’s Coachella performance. A pack of Giphy stickers also montage interspersed with smartphone accompanied the release to footage of the band themselves to create allow fans to embellish their a ‘Smoke.Netflix.Chill’ fan video. ! campaign breakdown own Instagram Stories with Around this same time, the band also illustrations of each member conducted a live performance and Q&A at of the band. These GIFs were the Facebook headquarters in New York. CAMPAIGN BUDGET £25,001+ promoted across the Tank & Leading up to the livestream, social posts AUDIENCE DEMOGRAPHIC The Bangas social channels across the Tank & The Bangas social AGE: 14-18, 19-24, 25-34 and ultimately received over channels prompted fans to share their AUDIENCE GENDER (M/F): 45% / 55% 450k views throughout the questions for the band. Questions with LOCATION: US campaign, which successively the most engagement were then collected

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Overview of campaign

2018 marks five decades since the iconic label Trojan Records changed the British musical and cultural landscape. To mark the occasion, we plotted a year-long celebration of its unparalleled history, taking in a series of live events, catalogue music releases, new music releases, streaming initiatives, a documentary film, a new brand partnership and a definitive coffee table book about this richest of histories. Throughout this year we’ve maintained multiple touch-points for fans to celebrate and engage with the Trojan label and music they’ve been following for years or are just starting to learn more about. The “traditional” media coverage, press and promotion has been unprecedented and includes multiple magazine front cover features, TV features and news pieces the relationship to include a Carhartt takeover specifically of This Is Trojan Spotify playlist saw an increase Team members involved across BBC, ITV and , as well as takeover of This Is Trojan Spotify playlist in followers of 7% and Instagram followers by 30% repeated radio programming across the BBC (increase in followers of 7% and Instagram • Trojan film Rudeboy, The Story of Trojan Records launched at the Max Norlin – Trojan label manager, BMG network, culminating in an August bank followers by 30%) and Carhartt ran a series of BFI, x2 screening sold out, x2 extra added and sold out. 10 screenings Laurence Cane-Honeysett – Trojan holiday takeover of 6 Music. Trojan-themed radio shows/podcasts which so far and all sold out consultant, BMG One of the key aims of the 50th broadcast on NTS radio. James Meadows – marketing manager, BMG anniversary celebrations was to bring in and Steve Bunyan – VP director of marketing, BMG increase our younger audience (18-24), we’ve Results & key learnings Kathy Daum – audiovisual director, BMG become very adept at knowing our core ! campaign breakdown James Windle – Dawbell PR fanbase (35-54) and serving up product and • Trojan box set – 5k manufactured, shipped Ant Giannaccini – Dawbell PR content they want to see and engage with; 4.5K Elizabeth Taylor and team – Premiere but as the core fanbase gets older, we need • Trojan Book – 3k manufactured, sold out CAMPAIGN BUDGET £25,001+ Film PR the younger fans to keep the music alive. We • Total Spotify playlist followers increased AUDIENCE DEMOGRAPHIC Phillipp Maiburg, Max Graef and team – partnered with streetwear brand Carhartt over the campaign by 50% AGE: 19-24, 25-34, 35-44, 45-59 Carhartt WIP on a very limited run of merchandise • Instagram followers increased over the AUDIENCE GENDER (M/F): 80% / 20% Sam Bridger, Can Salahi and team – Pulse items, which launched at Brand campaign by more than 300% LOCATION: UK Festival Bread & Butter. We also extended • The Carhartt brand partnership and

39 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY TWENTY ONE PILOTS / UK

Team members involved

Max Lutkin – senior marketing manager Callum Caulfield – head of marketing Nick Long – head of digital Andy Renton – in-house designer

Overview of campaign

Euston Trench takeover: This went up two days prior to album release and was immediately picked up online by fans, publications, influencers etc. The goal was to create something as shareable as possible. We wanted fans to feel immersed in the album and be something that Results & key learnings

• Euston station takeover: our estimated impressions across the online chatter equated to over 15m, we knew that our best they’d also travel the country to see. The banditos came at random and simply marketing tool for this album and band was their fans. takeover was designed by Brandon Rike, handed their tickets to two fans at a • Brixton Ticket giveaway: this initiative upped our ‘My Blood’ Shazam who designed the art for both Trench and time and then disappeared, creating an tags by 5,000% at the time of taking ‘My Blood’ to radio. . element of confusion and theatre to the • Snapchat community lens: this generated 720k views, 25k shares. initiative which resulted in lots of fans Brixton ticket competition: filming the banditos. We ran a competition to win tickets for ! campaign breakdown the band’s sold out Brixton Academy Snap community lens: Complete Diversion show. Fans were We created a community lens based on prompted to Shazam ‘My Blood’, which the bandito characters that appear in CAMPAIGN BUDGET £25,001+ then revealed a time and coordinates in a their videos. Something we knew would AUDIENCE DEMOGRAPHIC central London location. Fans gathered at resonate strongly within their fanbase AGE: 14-18, 19-24 the location and tickets were distributed and would be a highly shareable asset AUDIENCE GENDER (M/F): 40% / 60% by individuals dressed as banditos to around album launch. The lens we shared LOCATION: UK some of the congregated fans. The and promoted to UK fans.

40 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST USE OF A MESSENGER BOT THE WOMBATS AWAL

Team members involved it can become hard to reach your fans because of algorithms, having that direct Sarah Prendergast – assistant manager, SB relationship you get from a chatbot was Management quite a valuable thing. We love a pun, so Paul Trueman – general manager, AWAL obviously the only name we could call The Helen Barrass – senior director, marketing, Wombat’s bot was Wombot! Essentially AWAL used as a news bot, we took it to another Francesca Burton – international marketing level during the band’s sold-out show at director, AWAL in London. At the show, Silas Armstrong & Conor Merrygold – Be- we had messages on the large stage-side Hookd screens offering a meet & greet with the Rob Nancollas – Motive Unknown band if you signed up to the bot. We also partnered with UNILAD Sound for a global • Alexandra Palace Wombot activity drove 1,000 new subscribers to Overview of campaign webcast of the show which was available the 3,000 that already signed up. With 10,500 fans at the show, a 10% VOD post-event. conversion was a solid result. For The Wombats’ fourth album, Beautiful Although the streaming strategy was • The band’s socials blackout which caused mass anticipation and People Will Ruin Your Life (the first record at the forefront, we wanted to make sure conversation with 4x engagement rate of average posts. Returning since of a major label deal), we that we catered to the hardcore fanbase from social blackout saw 8x engagement rate, and a sharp increase wanted to tap into their new generation we had a social blackout which caused with deluxe products and bundles. The in conversation from target 13-17 and 18-24 demographics. of young fans. A core part of our campaign mass anticipation and conversation with band played nine underplay shows in • Multimedia and emoji posts drove 16x engagement rate of average strategy was to capitalise both streaming 4x engagement rate of average posts. seven days during release week, so in posts, overall doubling the engagement of previous posts. After 1,542 and deluxe physical products, bundling We teased song titles through emoji order to drive physical pre-order in the comments, a Spotify pre-save link was posted to all fans to subscribe huge sell-out venues, hyped up in-store tracklisting clues, created spoof film younger demographic we ran a D2C ticket to the new album. performances with album sales as well clips and created a faux live stream to bundle presale via Pledge which was a as creating other fun incentives, including celebrate the band’s return. strong fan incentive that helped our chart We achieved a cross-platform social growth of +8.4%, with Instagram our very first chat bot, The Wombot. Alongside our social media blackout, we place. Beautiful People Will Ruin Your Life rocketing +76.7%. Fan engagement was a huge priority had a mysterious outdoor poster campaign charted at #3 in UK, making it the highest for the campaign, as well as broadening popping up around London which teased new entry that week. and building their audience through the album title and a website address. ! campaign breakdown innovative digital ideas, key radio and The website showed a countdown clock Results & key learnings promo opportunities. (to announcement date) and no other The band’s social media profiles were information – which turned into the • UK Chart placement #3 (highest new entry), CAMPAIGN BUDGET £25,001+ used as a hub for campaign activity and announcement page for the album. beating the previous album on Warner. AUDIENCE DEMOGRAPHIC fan interaction; we worked with social To continue to develop our direct-to- Charted internationally in seven markets, AGE: 14-18, 19-24 media strategists Be-Hookd, to create fan engagement, we worked with Motive beating the last records’ positions, including AUDIENCE GENDER (M/F): 52% / 48% bespoke content plans that spoke to Unknown and Pop to build a chat bot a Top 20 record in (the previous LOCATION: Global this younger audience. Prior to launch, called The Wombot. In an age where record didn’t chart).

41 | sandbox | ISSUE 218 | 12.12.18 BEST SANDBOX 2018 SURVEY USE OF INFLUENCERS YEARS & YEARS Polydor Records

Team members involved videos, with a mysterious aesthetic and to their Instagram Stories, tagging the band and the name of the cryptic clues written in a brand new album. Influencers included Detox, Jodie Harsh, Felicity Hayward, Fiona McAuley – senior digital language of alphabetic symbols. Munroe Bergdorf, Leomie Anderson, LookingForLewys, Kyle De marketing manager, Polydor To reignite the CRM database, we Volle and more. Combined reach: 1.3m followers. Records then teased new footage of Olly in a We launched an official ‘cryptocurrency’ of the Palo Santo Stephen Hallowes – head of mysterious location and incentivised human rebellion: YearCoin. Fans could mine and spend YearCoin marketing, Polydor Records fans to sign up to the mailing list by carrying out a range of actions on a bespoke website built Martha Kinn – Machine to receive a voice note from Olly for by Modern English – saving Y&Y tracks on Spotify, watching/ Management further clues. This drove 5k new sharing official videos, sharing encrypted messages in Palo Santo Michael Smith – Machine mailing list subscribers. symbols on social media and more. By saving enough coins, fans Management Following this, we launched the could purchase their own personalised Palo Santo ID card. Megan Ruff – former senior Palo Santo Entertainment Network digital channel manager, WMA sent you dance tutorials from the videos Sever – the band’s official Facebook Results & key learnings Weller Media Agency (social, content, creative) • Vevo Originals content series that Messenger bot, built in conjunction with Danny Ingham – digital partnerships, recreated the world in its entirety TalkBe. This is the official communication • Palo Santo 350k global adjusted album sales Polydor Records • PSEN CCTV website led by voice centre of the fictional city of Palo Santo, • Years & Years’ global streams so far this year: 700m Modern English navigation with public service messages being Teaser + launch week activity drove incredible increases in reach and TalkBe • Cross-platform album tracklist reveal delivered to androids and humans alike. engagement on socials: Every Woah campaign to #FindPaloSanto We revealed the album tracklist • 3m impressions on Instagram; 3.6m impressions on Twitter; • Influencer marketing campaign via a cryptic digital treasure hunt led • 2.1m organic reach on Facebook; 5k new mailing list subscribers; Overview of campaign touchpoints throughout by Instagram Stories across all social 7k subscribers to Messenger bot in under two weeks (at an 89% • YearCoin – the band’s own backstreet platforms, wrapped with #FindPaloSanto. conversion rate). Background: Palo Santo is a fictional ‘cryptocurrency’ exchange to drive fan Fans were invited to gather online to YearCoin response: world, which could be in the future or a engagement help #FindPaloSanto via a cryptic mailer • Average dwell time 19m 53 seconds; 1k ID cards being created in parallel universe, where most humans • Multiple bespoke Snapchat lenses on written entirely in Palo Santo symbols, 24 hours alone – meaning pre-saves, video views, streams, shares on have died out and androids populate album release which they quickly deciphered. The hunt socials etc. the earth. Olly [Alexander, lead singer] is • Facebook AR camera effect album then led fans through a series of clues one of the few remaining humans; he’s sampler– the first of its kind in music across the band’s social channels, all led discovered and brought to Palo Santo, • Bespoke native content; created for from Instagram Stories. ! campaign breakdown where he performs daily and becomes a all platforms throughout the campaign, To amplify the pre-order launch, we celebrity. The main digital touchpoints of including an QVC-style also launched an influencer campaign the campaign include: shopping channel advert presented by with relevant UK LGBT influencers, CAMPAIGN BUDGET £25,001+ • Teasing new music and launching Y&Y2 Olly himself. introducing them as Humans Of Palo AUDIENCE DEMOGRAPHIC through launching the band’s own digital Santo, with Palo Santo-style playing AGE: 14-18, 19-24, 25-34 alphabet We kicked off Y&Y2 by warming up the cards. Each influencer posted their own AUDIENCE GENDER (M/F): 36% / 63% • Fully integrated messenger bot that audience with a series of bespoke video bespoke playing card – which detailed LOCATION: UK, US, Europe guided you through the campaign and even assets featuring footage from previous official their history and role within Palo Santo –

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5 SECONDS OF SUMMER CAPITOL RECORDS UK CONTACT

Studio 11, Holborn Studios Team members involved 49-50 Eagle Wharf Rd London N1 7ED Jo Power – senixxind ☎ +44 (0)20 7250 3637 Overview of campaign www.MusicAlly.com Published by music ally. SUBSCRIBE TRAINING For alt-J’s third album, Relaxer,:) the artist’s [email protected] creativexn – eaching almost triple the music ally existingmusic: )socialally helpsfollowing companies organically over market the To subscribe to music:)ally, begin a :) trains labels, Registered company number: teasermusic and better announcement, and helps campaign. create more corporate deal or add subscribers to agencies and management 04525243 Working with design agency Another sustainable careers for everyone in the an existing corporate subscription, companies across over Kind, we replicated an entire level of 30 countries. Training is VAT number: 858212321 LSDmusic Dream industry. Emulator We on accomplishaltjband.com tothis by please contact Anthony Churchman on researching and publishing news and available as: create an inxxng animated visuals from [email protected] © Music Ally Ltd. For the purposes of the ‘In latest Cold Blood’ trends video. on Spotify digital created change, personal, private use the subscriber may n In-house workshops and boutiquestartups content, and strategy, including a “gamified”by training print this publication or move it to a innovation Facebookcompanies canvas in marketingwhat we plan. know, and by storage medium; however, this publication To learn more about our training, sessions running campaigns to learn as much is intended for subscribers only and as Results & key learnings learning and development, and n Material creation for such may not be redistributed without as we can and drive excellence in our innovation workshops, please contact corporate permission. Theindustry momentum forward. gained from prioritising Wesley T. A’Harrah at L&D programs Subscribers agree to terms and conditions streaming on the campaigns for the band’s or n Team-level / department- [email protected] set up on the music: ally website, first two albums has helped generate nearly ) We also produce events to facilitate +1 (267) 577-6897. level best except where a separate contract takes 2bn streams to date and meant they had international discussion, planning and practice structuring precedence. music:)ally has taken all already grown a loyal and engaged fanbase networking around digital change and n Internet-based learning reasonable endeavours to ensure the on streaming platforms, who were ready and digital strategy. options validity of all items reported within this waiting for the new album. This has helped For digital marketing and document. also available Relaxer already racexer-fans and different campaign-level services, please consumerClients include: markets Spotify, early on toRed retarget Bull, l contact Patrick Ross at ! campaignWe do not breakdownassume, and hereby disclaim, MARKETING SERVICES any liability for loss or damage caused Universal Music Group, Sony Music Group, [email protected] , Beggars Group, by errors or omissions. In particular the n Digital health check CAMPAIGNcontent BUDGET is not intended £25,001+ to be relied upon Facebook, Amazon, Google, Domino in making (or refraining from making) n Audience development, remarketing AUDIENCE DEMOGRAPHIC Recording Co, AEI, Anjuna, Songtrust, If you have a digital campaign investments or other decisions. We cannot and CRM setup AGE: 19-24, 25-34, 35-44, 45-59, 60+ Blue Raincoat Music, Chrysalis Records, related story for sandbox, be held responsible for the contents of any n Ad campaign audit / optimization AUDIENCE GENDERlinked (M/F): sites. Slight female skew The Orchard, the MMF, the BPI, Berklee please contact Eamonn Forde on n YouTube assessment / optimization LOCATION: Global College of Music, BIMM and more. [email protected] n Facebook assessment / optimization

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