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DECEMBER 11 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 242

thE year’s best music marketing campaigns

SANDBOX 2019 SURVEY

thE year’s best music marketing campaigns

e received a phenomenal Contents 15 ... 28 ... KIDD KEO 41 ... number of entries this year and 03 ... AFRO B 16 ... DJ SHADOW 29 ... KREPT & KONAN 42 ... had to increase the shortlist W 17 ... 30 ... 43 ... 04 ... AMIR to 50 in order to capture the quality 05 ... BASTILLE 18 ... 31 ... LD ZEPPELIN 44 ... and breadth of 2019’s best music campaigns. 06 ... 19 ... FEEDER 32 ... SG LEWIS 45 ... SLIPKNOT We had entries from labels of all 07 ... BERET 20 ... DANI FERNANDEZ 33 ... 46 ... sizes around the world and across 08 ... BIG K.R..T. 21 ... 34 ... MABEL 47 ... a vast array of genres. As always, 09 ... 22 ... 35 ... NSG 48 ... SUPERM campaigns are listed in alphabetical 10 ... 2019 23 ... HOT 36 ... OASIS 49 ... order, but there are spot prizes 11 ... 24 ... 37 ... OLSEN 50 ... TWO DOOR CINEMA CLUB throughout for the ones that we felt 12 ... 25 ... 38 ... 51 ... UBBI DUBBI did something extra special. Here are 13 ... CHARLI XCX 26 ... 39 ... REGARD 52 ... 2019’s best in show. 14 ... CHASE & STATUS 27 ... 40 ...

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specifically focusing on Sweden, Netherlands, , Nigeria, the US and France. We saw the record started picking up across all the underground scenes so we decided to create another remix with so it could cross over to the mainstream market while still keeping the DNA of the track. ‘Drogba (Joanna)’ then took off in the US, where we implemented a US radio campaign very quickly which helped cementing the song in the American market. We also wanted to make the record more recognisable amongst the US market, so we remixed the track again with French , which pushed the record further. The single peaked at #13 on the charts and it has reached over 150m+ streams globally across all DSPs.

Results & key learnings

• 100m+ streams across DSPs •#13 US airplay charts • 100m+ reached on US radio • A-list on BBC 1Xtra • Most Played Record on Hot 97 (USA) • Silver record (UK) • 51m+ views of Swedish platforms. At the same time, •#1 Shazam charts Team members involved Overview of campaign Swedish fans started sharing the record • 155k followers on (within 12 months) having started and creating dance content on social with 30K Gavin Douglas, manager, Ahead of the launch of the ‘Drogba media. Ultimate Clientele (Joanna)’ single, we’d analysed Afro In addition to this, we’d created dance Mikey Lloyds, radio plugger, Plugged In B’s audience and saw that his fanbase content with popular dancers within the EDIT campaign breakdown Chris Capo, radio plugger, All Ears was building in Sweden. With this in Afrobeats’ community and one of Dujon Fairweather, PR, Listen Up mind, we put together a remix of his these clips became viral. Thanks to these, CAMPAIGN BUDGET £25,001+ Tom Roberts, sports PR, Shoot PR previous record, ‘Pull Up’ featuring Aden the record started building its own life AUDIENCE DEMOGRAPHIC Byze, radio plugger (US) & Asme, which became in Sweden online with many dance clips coming from Reza Sarrafieh, radio pluggers (US), Pars and prepared the Swedish fans and around the world. AGE: 0-13, 14-18, 19-24, 25-34 Promotions gatekeepers for Afro B’s next single To better hit these territories, we AUDIENCE GENDER (M/F): 40% / 60% Ian McQuaid, A&R ‘Drogba (Joanna)’. On the launch of ‘Drogba decided to create remixes with local LOCATION: Global (Joanna)’, the record was playlisted across artists across the key diaspora territories,

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Team members involved the best videos possible, so that he would create an alternate video clip of the single with the fans UGV. Amir, artist, Parlophone/Warner Music 16/05 – App launch France 28/05 to 31/05 – Instagram paid marketing campaign David Scantamburlo, Amir’s brand manager, 19/06 – National TV show (Touche Pas A Mon Poste) Parlophone/Warner Music France 09/07 to 15/07 – YouTube paid marketing campaign Alain Veille, managing director digital, 23/07 – Release of the alternate UGV video clip X Warner Music France Bertrand Polou, business development & Results & key learnings digital marketing director, Warner Music France • 11k app downloads Thibaut Hus, product manager, 118LAB / • Comparing the streams two weeks prior to the app launch and innovation & new usages, Warner Music two weeks after the app release, the single benefited from a +20% France streaming increase. Augustin Stephan, UX/UI designer, Warner • There is also a significant stream peak on the day of national TV Music France show (TPMP) broadcast (1m audience). Perrine Guyomard, innovation & new usages manager, 118LAB Instagram: Cédric Passinay, digital video project • 9.7m impressions over all posts/stories under #AmirEtMoi manager, Warner Music France • +58% engagement Tiago Correia, global business development • +23% reach manager, Tom Pascoe, marketing : director, HoloMe • First Amir post – reach five times higher than average George Stuart, project • Over 40k interactions manager, HoloMe Zuheb Javed, unity developer, of Amir’s new single, ‘5 minutes fans’ loyalty by offering a unique UGC HoloMe avec toi’. experience. The idea was to enable fans EDIT campaign breakdown Overview of to create and share their The mobile app ‘Amir & Moi’ enabled fans campaign own UGVs with Amir’s to create their own videos using the Amir CAMPAIGN BUDGET £5,001–10,000 hologram. It was augmented reality hologram and to share AUDIENCE DEMOGRAPHIC Parlophone & designed to: their UGV on . 118LAB used • Encourage When opening the app, fans could place AGE: 19-24, 25-34, 35-44 augmented reality virality to support Amir wherever they wanted and even AUDIENCE GENDER (M/F): 25% / 75% technology to the new single themselves alongside the hologram. LOCATION: France promote the launch • Strengthen the Amir challenged the fans to produce

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Team members involved

Betsy Chadbourn, digital manager Rory Dewar, head of content Khush Savjani, content Stars Redmond, Eleven Management

Overview of campaign

Our goal for this campaign was to reengage the fanbase, using innovative activations, whilst utilising of the ‘ eventuality ended in death. As far as we are aware, this is the Decisions’ official video. first time this has been done in the . To begin the video campaign, we created a global Snapchat filter Results & key learnings scavenger hunt, which ran a week prior to release. At this point, fans Over the tease week and release week of the campaign, we gained knew nothing about the upcoming 19k followers, 5k Instagram followers and had our peak day video. We created 14 filters, each on YouTube on release of the music video for the last months. containing an individual letter The Snapchat activation received 100k impressions and 2.2k which spelled a lyric from the entries. The YouTube premiere had 5k live viewers. The bot single once put together correctly. received 3k new users and the quiz had over 5k uses. We also had We placed these filters in approximately a quarter of a million views across our activation Bastille’s top 14 streaming cities which correlated to the time that the track in our bot, called Dr Dan’s Diagnoser. Fans social posts. globally at a famous landmark or location, ‘Bad Decisions’ appears on their latest had to make a series of bad decisions instructing fans to find them and work , . We then teased up to in order to be served one of together online to complete the phrase release with a series of illustrated tarot characters from the video. They were EDIT campaign breakdown using an original hashtag. They then had cards and self-help posters relating to the encouraged to share these results to to enter the phrase into a splash page. We themes found in the music video. socials with an original hashtag. We saw a CAMPAIGN BUDGET £1,001–£2,000 incentivised by promising the release of a On release day, we did a YouTube huge uplift in subscribers from this. AUDIENCE DEMOGRAPHIC special date if we received enough correct Premiere for almost 5k live watchers, Finally, we created a “choose your entries of the phrase. followed by a comment Q&A and destiny” adventure campaign for AGE: 14-18, 19-24 On the aforementioned date, we community poll. The video is currently Instagram Stories, where fans could make AUDIENCE GENDER (M/F): 34% / 66% released a cryptic teaser, with a distorted sitting on almost half a million views. decisions and choose their own outcomes LOCATION: Global image from the video and a time stamp Post-release, we launched a new flow for the music video. The twist? Every

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BEE GEES UME / FAME HOUSE

Team members involved

Alex Hines, Fame House Aaron Desire, Fame House Haley Furman, Fame House Lawrence Yamoah, Fame House Carrie Paul, Fame House Chris Dashwood, UMe

Overview of campaign

Gees playlist that contributed to the second-highest spike in Spotify listeners of all time. The songs rolled out in batches to keep fresh through the holiday season and it also positioned the Bee Gees alongside contemporary popular artists. Given Fame House’s emphasis on the Bee Gees Instagram, Fame House launched a Bee Gees holiday GIPHY Sticker pack that paired Bee Gees branding and holiday imagery. The stickers gave Bee Gees fans the tools to celebrate the holiday season with the Bee Gees.

Results & key learnings

• 1.6m impressions • 41.1k Engagements For the 2018 holiday season, Fame • Over 750 playlist adds House rebranded The Bee Gees’ socials for a series of holiday-themed social activations spanning from 18th December EDIT campaign breakdown to 1st January, including the Family 41.1k total engagements and 1.6m total from a family photo album. In addition, Photo Album video, a Holiday GIF Card, impressions across channels. audio from the song ‘Thank For CAMPAIGN BUDGET Not given Holidays With The Bee Gees Spotify To kick off The Bee Gees Holiday Week Christmas’ played in the background, AUDIENCE DEMOGRAPHIC playlist and a Holiday GIPHY Sticker Pack. on socials, Fame House published a short resulting in 6k engagements and 221k In addition, archival imagery from the 20-second family photo album video impressions across channels. AGE: 35-65+ band was published on Christmas Day on 18th December. The video featured Following the family photo album and AUDIENCE GENDER (M/F): 44% / 56% and New Year’s Day that helped amplify several archival photos of the Brothers various holiday-themed imagery, Fame LOCATION: Global the campaign to gather an impressive Gibb with family as if they were taken House launched a Holidays With The Bee

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Team members involved registered fan so that it felt more special and unique. A few days later, we launched the second phase of the Alberto de Miguel website where fans had to enter the code and the piece of the Sergio Méndez song assigned to them in order to complete the full song. Verse Raquel Sanz by verse, the song was completed when all the fans had entered Raquel Hernández their part. Juanjo González Beret published an Instagram Story announcing the new website and in less than an hour, we received more than 2,000 Overview of campaign registrations although we only had 500 verses available. In order to avoid leaving anyone out of , (especially those who lived abroad), an email was sent out with the same information given to the fans who had received their letter by post.

Results & key learnings

Web visits: 41.242

New users: 12.262

Users registered: 3.009

Average session per user: 01:23

EDIT campaign breakdown

CAMPAIGN BUDGET £2,001–£5,000 Beret, a Spanish urban pop artist who on his , one of his main strengths, to we cut five of the album’s unpublished AUDIENCE DEMOGRAPHIC has achieved both gold and platinum create a digital activation. The objective songs into verses and created a website. AGE: 19-24 certifications for seven singles in Spain, was to let his most loyal followers Fans had to register and leave their AUDIENCE GENDER (M/F): 36% / 64% has released his debut album, called discover a piece of his new album before mailing address. We gave them a unique LOCATION: Primarily Spain 78%, Argentina, Mexico, Prisma. anyone else, that piece being some of the code associated with each part of the Chile, Colombia For the release, we decided to focus lyrics of his new songs. In the first phase, song and manually sent it by post to each

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listening party prior to the photos of themselves in album release, as well as front of the murals as join K.R.I.T. for a very special well as texting them to dinner. K.R.I.T.’s phone number. Prior to approaching Fame The hashtag #KRITIZHERE House, Big K.R.I.T.’s team was also used over 5,500 worked with muralists to times across socials put up custom murals in 11 throughout the campaign. US cities (Cities were chosen After the Sweepstakes based on listenership and ended, the QR code was fanbase.) reverted to the album The team pasted a QR code pre-save/streaming link next to the murals that fans and the SMS number could scan on their phone has been utilised for broadcasts about album news. Big K.R.I.T. to lead them to a landing gained over 4,000 phone numbers using Avochato that could be page to enter a sweepstakes, implemented for marketing and retargeting opportunities. Fame House added a digital component for the fans not Results & key learnings physically in these cities so they could have the Unique Hive entrants – 3,447 opportunity to enter the Unique actions taken – 14,666 Team members involved Sweepstakes as well. prompted fans to enter their email to sign Email marketing opt-ins – 3,333 Fame House worked with SMS up for a chance to win, with additional New social followers – 6,071 Rachel Barrish, Allie Hackel, Ethan Kart, marketing platform Avochato to create bonus to follow Big K.R.I.T. on social Linkfire clicks – 4,235 Fame House a phone number for the national fans platforms including Spotify, YouTube, Total inbound messages – 4,985 JJ Knerr, Miles French, Tim Reid, BMG outside of the 11 mural cities. The phone Instagram and . #KRITIZHERE entries by SMS – 3,976 Aminah Dixon, Dutch Dinero, Steve-O, number was shared on K.R.I.T.’s social Fame House tracked the success of the Multi-Alumni platforms without ever revealing the campaign through link clicks, text-ins and Crystal Mais, Ashley Lyle, Cornstone Creative sweepstakes landing page URL. Fans unique Hive entrants. EDIT campaign breakdown texted in trigger keyword “#KRITIZHERE” Once the sweepstakes ended and Overview of campaign (i.e. the album title) and received an auto- the winners were chosen, Fame House CAMPAIGN BUDGET £0-£500 reply with a link to enter. continued to utilise Avochato to send out AUDIENCE DEMOGRAPHIC Big K.R.I.T., legacy country hip-hop artist, The landing page drove to a Linkfire mass broadcasts around major marketing wanted to set up a sweepstakes called which featured the latest Big K.R.I.T. moments, including new track releases AGE: 18-44 Southern Hospitality. The campaign was release (in order to gain additional and tour announcements. AUDIENCE GENDER (M/F): 74% / 26% a way to offer his fans a chance to travel streams) with the Hive landing page There was a huge amount of fan LOCATION: US to , GA to attend an invite-only featured at the top. The Hive page engagement featuring fans posting

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fans were aware that something was coming. The first premiere went out on Australian radio and coincided with the track appearing on digital services and being added to the main album playlist hosted by . As each hour marker came up a new radio premiere would happen (Eastern , Europe, UK, US (ET, CT, MT, PT) and each track would be added to the digital services and playlists. A lyric video for each track was also launched each hour. This gave us multiple social opportunities throughout the day and gave all the different timezones around the world a sense that this was both a global and local release. After the final track was added late in the day on 8th August, the playlist was complete and the album was released on all digital services as a complete product midnight local time on 9th August. This was a unique launch of the album. To our knowledge (and to the knowledge of our DSP partners) this had never been done before and became a social and press talking point for the release, positioning Bon Iver as a creative, globally relevant artist.

Team members involved from across the globe so we had Results & key learnings to do something that would feel Tom Davies, UK project manager specific to each territory. Rather • 142m global track streams for the album in three months. Evan Whikehart, US project manager than releasing the entire album at • Despite the split release date of physical and digital, the album Laura Sykes, Phil Waldorf, Hannah Carlen, once, we decided to “give” a track to charted in the top 30 in 16 countries worldwide Robby Morris, Ali Murphy, Tom Davies, each key timezone in the world the • Bon Iver are currently playing their largest shows to date Caroline Marchildon, Libby Webster, Emily day prior to the full album appearing Puterbaugh – marketing/label team and release the record as the world Bri Aab, Harlan Kelly, US radio turned through the day on 8th EDIT campaign breakdown James Passmore, UK radio, Plugged In August. Nathan Beazer, UK press, Dog Day Press We set up a radio premiere in CAMPAIGN BUDGET £25,001+ Shorefire, US press release of the album (three weeks prior eight different time zones and AUDIENCE DEMOGRAPHIC to the official release date) feel globally released the tracks one by one on DSPs Overview of campaign unique. The digital release was scheduled each hour. We laid the groundwork for AGE: 19-24, 25-34, 35-44, 45-59, 60+ for 9th August. this by launching a video for the first track AUDIENCE GENDER (M/F): 50% / 50% A key campaign element for this release We knew it was important for this (a short noise-prelude to the album) via LOCATION: Global was to make the unannounced digital to feel like a campaign for Bon Iver fans Bon Iver’s very active page so that

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Instagram and Snapchat Story along with key social influencers bringing the action directly to , no matter which platform or device they were using. Innovative activations with artists including , Hugh Jackman and P!nk gave our audience unrivalled insight. New partnerships with Jungle Creations, TfL and GQ provided a new twist on BRITs content. A diverse, inclusive talent line-up unlocked new audiences and produced with a record-breaking 3.9m viewers episodic creative that built familiarity in • The red carpet live stream reached 34.5m global fans with 5.9m advance of the event. On IGTV, Chidera views on Facebook. Additional BRITs content reached 62m in the Eggerue celebrated the industry’s most week of the event on the platform important females. On Instagram Stories; • Over 724k tweets were sent about with 22m tweet BRITs Insiders Mark Ferris and Montana impressions on event day alone Brown built anticipation with a series • BRITs dominated worldwide trends around the show, with 10 out of takeovers. On Facebook host Jamie of 10 UK top trends and five out of 10 worldwide trends Team members involved Overview of campaign Laing fronted exclusive videos with Jack • The focus on talent across Instagram saw a 44% follower increase Whitehall and a who’s who guide to the and the Instagram Story had 6.5m views, a 50% year-on-year increase Gavin Douglas, Giuseppe De Cristofano, The BRITs is the biggest moment in 2019 nominees. • Bespoke stickers were used over 107m times throughout the director of digital, BRIT Awards Ltd the UK music calendar. The challenge Todrick Hall presented the YouTube campaign. 175 GIFs were uploaded via Giphy, generating 239m views Dorothy Hui, VP of digital at and is to convert a UK event into a global Live Stream which saw a 160% increase in the week around the show Chair of The BRITs 2019 Digital Committee conversation. in year-on-year live views with a record- • The BRITs social accounts has over 3.3m followers, a 10% increase Adam Cardew, director of digital, Sony Music The 2019 strategy focused around an breaking 3.9m views worldwide (with over on the last campaign Tom , head of social, Somethin’ Else all-star line-up of presenters and music 1m views from Mexico alone), rivalling the Productions artists to endorse the show way beyond TV viewership in the UK. Lee-Anne Richardson, head of production, its traditional TV audience. EDIT campaign breakdown Somethin’ Else Campaign messaging created an Results & key learnings Nan Davies, executive producer, Somethin’ appointment to view and an open CAMPAIGN BUDGET £25,001+ Else invitation to young social natives to have • The BRITs 2019 saw a huge increase in AUDIENCE DEMOGRAPHIC Zosia Morris, senior producer, Somethin’ Else their say. This proposition was brought engagement across the campaign, with a Will Hardy, talent & partnerships producer, to life via a huge marketing campaign record audience consuming live content AGE: 14-18, 19-24, 25-34 Somethin’ Else partnership with YouTube Music and around the show AUDIENCE GENDER (M/F): 30% / 70% Emma Lansdown, designer, Somethin’ Else a worldwide YouTube Live Stream, a • 160% increase in year-on-year live views LOCATION: Global Tom Pollard, video producer, Somethin’ Else Facebook red carpet live show, a global on the International YouTube live stream

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Team members involved outlets including , Spin, , Cameron Reed, director of and more. marketing, Arts & Crafts Splitting the album Peter Carruthers, marketing into two EPs allowed us coordinator, Arts & Crafts to extend the life cycle of Joshua Cwintal, production not only this collection coordinator, Arts & Crafts of songs but also Hug Jennifer Daunt, , Of Thunder. This novel Dauntless approach helped us to Jen Appel, US PR, Grandstand PR keep Broken Social Scene Radio: ‘Can’t Find My James Sandom, Jessica Lord, top of mind for fans and ’ peak charting: #87 management, Red Light further entrench the band - Mediabase A3, #85 - BDS Danielle Dmytraszko, in the streaming era. A3 Monitored, #82* (+14p) administrative manager, Broken - FMQB A3 Singles, #44* Social Scene Results & key (+13p) - FMQB NonComm learnings Album. Key singles Overview of campaign received regular spins and Retail: Shipped and sold all adds at top stations such The strategy surrounding the release of primarily at social distribution. 5,000 exclusive vinyl units as SiurisXM, The Verge, Broken Social Scene’s Let’s Try The After Along with the video and song, we heavily Streaming: 5.1m streams to date XMU, KCRW, KEXP, WFUV and XPN. Vols. 1 & 2 came out of a desire from both leaned into the timing of the song. Falling Digital: 5,400 EP sales and 2,300 track sales the artist and the label to bridge the gap near Valentine’s Day, we created a microsite to date Publicity: In addition to the typical broad press coverage the band between the band’s triumphant 2017 return, where fans of the band were able to send receives (Rolling Stone, Pitchfork, Vulture, etc), Broken Social , and whatever is next to personalised digital cards to their loved Tour: Broken Social Scene sold out multiple Scene made their daytime US television debut performing on CBS come for the indie-rock stalwarts. ones. This was covered by Rolling Stone and three-night residencies in major markets, Saturday Morning. We came to the conclusion that a novel other outlets. including , Montreal, NYC, Los approach would be best. We separated the The release of the Vol 2 EP included a full Angeles, and Portland. The band album into two EP (Vols. 1 & 2), releasing commercial radio push featuring the band’s attended SXSW and performed eight shows EDIT campaign breakdown them as digital exclusives at first. most radio-friendly song to date, ‘Can’t Find over five days. Vol. 1 started off with a bang leading with My Heart’. Immediately following the release CAMPAIGN BUDGET £25,001+ the single ‘All I Want’, sung by the band’s of Vol. 2, a collected vinyl pressing of the Videos: 1x video was released hitting AUDIENCE DEMOGRAPHIC , his first time singing two EPs was made available as a Record 150,000 views. lead with the band since ‘Fire Eyed Boy’. Store Day exclusive. This campaign included AGE: 14-18, 19-24, 25-34, 35-44, 45-59 This was followed by the main single of the band’s first appearance on US network Audience: 74,000 new followers over the last AUDIENCE GENDER (M/F): 50% / 50% the EP, ‘Boyfriends’, which was accompanied daytime TV with CBS This Morning. The year (+46,000 on Spotify, +21,000 on Songkick, LOCATION: by a highly meme-able video, targeted EPs were both featured on all major press +7,000 followers on Instagram)

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Team members involved

Betsy Chadbourn, digital campaign manager Rory Dewar, head of content Connie Meade, senior marketing manager Ryan Walter, Alfie Lawrence, Interlude Artist Management Mike Speakman, Pretty Good Digital

Overview of campaign

The Lewis Capaldi campaign has been a diverse and, frankly, unprecedented (4.2m reach), and a Shazam feature. surrounding album release. The Bruises official video reached 1m one. There have been so many Then came our two biggest views in 24 hours. Lewis’ debut album sat at the #1 spot for six elements that have made up this activations of the year. We ran a weeks, with ‘’ sitting at #1 for seven weeks. year-long climb to global success – global competition from a microsite To say it’s been an amazing year is an understatement. and we are nothing short of thrilled where fans had to submit their with the results. We’d like to make it The ‘Someone You Loved’ single and covers of ‘Bruises’ using an original Results & key learnings known that without Lewis’s unwavering Divinely Uninspired To A Hellish Extent hashtag – #CountingDaysWithLewis – dedication to his online presence and album campaigns consisted of several which were then pulled into a heat map. • Facebook: +823.9k personal brand, none of this would activations, including a Spotify listening The best entries are being made into an • Twitter: +757.8k have been possible. Lewis is a digital party (50k streams), an ASMR video with official fan version for YouTube. • Instagram: +3.7m phenomenon. A legend. And we’ve loved LADBible (8m reach, 3m views), a star- We also worked on a one-of-a-kind • YouTube: +1.2m every second of working alongside him. studded influencer campaign amounting campaign with TikTok, who launched a • Spotify: +1.2m We began the year with a content shoot to 47m reach, a YouTube live stream at three-phase bid to make Lewis the official • 1m growth on Instagram in the four weeks surrounding the album for Lewis’s official calendar, of which the Rough Trade East, a 25m reach Tunemoji of TikTok. Fans flooded in their images have also been used for seasonal campaign, a Twitter emoji, a Snapchat #ReasonsWhy, helping us hit a whopping digital advertising. Followed by a shoot filter, and activations with UNILAD and 14.3m entries in 36 hours. Lewis was EDIT campaign breakdown for social personality content around the 9GAG, reaching 101m people. also featured on the UK homepage and album, including a QVC-style merchandise For ‘Bruises’, we ran another Spotify in the carousel. The warm-up campaign CAMPAIGN BUDGET £5,001-£10,000 video, a drawing challenge, GIFs and a listening party, a YouTube Premiere, an #FindingLewis finished on 4.1m entries. AUDIENCE DEMOGRAPHIC track-by-track. We’ve also actively worked IG Live, a Two Truths One Lie takeover We also created an amazing campaign with global publisher LADBible throughout with UNILAD on Instagram (3.5m reach), with VR trailblazers, MelodyVR. AGE: 14-18, 19-24, 25-34 the year on several content pieces for their 9GAG Confession Tuesdays (50.9m reach), We grew a total of 8m followers across AUDIENCE GENDER (M/F): 32% / 68% platforms, including Acoustic Room, Snack a Scottish accents video with global MCN all socials within the year, with 1m growth LOCATION: Global Wars and Shocking Answers. FBE (19m reach), an IG takeover with VT on Instagram alone in the four weeks

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Team members involved and aspirational content to drive fan interactions and build an engaged Tom Peacock, director, Beautiful Digital following into the release of the album Arianne Ahmisa, account manager, Beautiful and tour. visualisers. These strong visuals were current memes, GIFs or viral content. As well as creating this Digital We work closely with Charli and also used for announcing the Charli tour style of content in house, we often share and use this content as Tracy Weston, Tom Outram and David her photographer/videographer Henry – which spanned the US, UK and Europe a way of integrating her fans into her journey. Kitson, content production, Beautiful Digital Redcliffe to capture day-to-day content – beginning almost at album release until Jamie Ahye, senior marketing manager, for Charli’s social platforms. This is a vital the end of the year. Results & key learnings Atlantic Records part of Charli’s digital presence and Charli We also wanted to create something Sean Ward, digital marketing manager, is extremely involved. This process has incredible for Spotify Canvas and YouTube • 500k new Instagram followers Atlantic Records been vital for building and showcasing the on album release, so every song would • 45m YouTube album content streams Henry Redcliffe, photography, videography aura of Charli, the music, her explosive live stand out visually when being listened to • Sold-out UK tour performances and her fans. on devices. Taking inspiration from the • 24k followers on The Motherfucking Future – the Charli-owned Overview of campaign The visuals for Charli [the album] are Pop2 animations we made in 2017 and Spotify playlist featuring all new artists and which was utilised to based around incredible photography of the 1999 visuals we created in 2018, we drive album and catalogue streams in month one. Charli XCX’s 2019 album Charli followed Charli – a full-body image for the album created a moving wave background with two incredible , both of which artwork and shots of her and the wealth bouncing 3D titles. Each song has an shaped a big move forward in direction for of features on the album for each IG track, individual colour and identity online. EDIT campaign breakdown her. We began working with Charli on the including Haim, and . Charli has an extremely dedicated 2019 single ‘Boys’ which in many ways was Moving 3D elements and futuristic fanbase and they were utilised to the CAMPAIGN BUDGET £25,001+ the beginning of this album campaign. animations have been a huge part of the fullest. The nature of her fanbase is to be AUDIENCE DEMOGRAPHIC Charli’s digital presence is built on musical visual identity that we’ve helped as outwardly creative in support of Charli Charli expressing herself, voicing her create for Charli. Following the 3D designs and the XCX “ecosystem” as possible. As AGE: 14-18, 19-24 opinions and cultural relevance. For this added to each album image, we animated soon as Charli drops something, there are AUDIENCE GENDER (M/F): All album campaign (and long term) our them to move and glow on the beat to the memes and UGC everywhere. Most of the LOCATION: Global aim has been to use incredible, relatable music during the teasers and full-length time these would be utilising the most

13 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY CHASE & STATUS Virgin EMI Records

surrounding the project. This was used this group to send exclusive • Instagram – up 56% to 109k followers told through a documentary of backstage content, voice notes • Organic YouTube uploads accumulating over 5m views to date, UKF their trip to Jamaica uploaded and more. We continued this uploads on 1.5m views and growing direct to YouTube. It was very theme by launching a pirate • Our WhatsApp group sits at over 1k fans, being hit straight from important we continued this radio station with a 24-hour live the artist as an always-on strategy mission statement and did mix from artists in the scene • The launch live stream was the first opportunity for fans to see a so through the RTRN II Jungle leading into the release. live experience of what’s to come from the project. The live stream Reload Report, a campaign for On the Bank Holiday weekend itself amassed 69,000 views and impressions on the stream across fans to hear about the legends of in August, we launched the all platforms is in excess of 400k the scene by journalist campaign ‘#RTRNIILDN’. We took Marcus Barnes. over with stencils and This led our CRM strategy as fly posters, alongside a microsite we utilised our 50k database collating all content on the to send personal Reload #RTRNIIJUNGLE hashtag from Reports straight to the fans’ socials for fans to view in real inboxes. It was important to time. We also encouraged fans to make this entire project feel sign up to the WhatsApp Group as underground as it was and for exclusive information, which Team members involved this was also reflected in our revealed the location of the YouTube strategy. We uploaded RTRN II JUNGLE sound system at Michaela Browne, digital manger everything organically onto Chase Notting Hill Carnival. Cameron Petschi, product manager & Status’s YouTube channel David Kitson, content manager alongside visualisers of ‘Weed Results & key learnings Kennard, Livi Dawson, management & Rum’ and ‘Delete’ on the iconic UKF. We Myriad Corsican, social, management created bespoke videos for each of the key • We turned a lean-back audience into an Laura Pescow, Rivalland, marketing tracks on their YouTube channel. engaged audience by activating nostalgic Inspired by 1990s culture, we experiences in theme with the record, Overview of campaign launched the official RTRN II JUNGLE engaging fans through new mediums phone number on a fly poster which and giving them fresh content at every EDIT campaign breakdown Chase & Status returned this year with lead to a voicemail revealing the details opportunity. their RTRN II JUNGLE project. To mark the of the official launch party. This became • RTRN II JUNGLE charted at #12 with 18.5k CAMPAIGN BUDGET £10,001–£15,000 pre-order launch of RTRN II JUNGLE, Chase the RTRN WhatsApp Group which was sold to date. The campaign social AUDIENCE DEMOGRAPHIC & Status took over the basement of the old launched in conjunction with the activity resulted in: iconic Black Market Records in Soho for a festival Love Saves The Day. • Spotify monthly listeners – up 41% to 1.7m AGE: 14-18, 19-24 very special one-off Foundation show. They distributed a QR code that • Spotify followers – up 27% 453k followers AUDIENCE GENDER (M/F): Not given One of the main objectives of the fans scanned and were automatically • YouTube followers – up 16.4% 305k LOCATION: UK campaign was to cement the authenticity prompted and added into the group. We followers

14 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY BEST ARTIST RETURN THE CINEMATIC ORCHESTRA

Team members involved the key TCO back catalogue tracks. encouraged to support independent record shops in order to get Each had the blurred-out tracklist tickets to the upcoming Samantha Sissons, head of image but with one of the tracks live tour. Our aim was to support independent artists and stores, marketing, Ninja Tune revealed. At the bottom there was so in order to get the tickets, fans simply had to go to one of the Maja Matacz, digital marketing messaging telling fans to listen participating stores and buy any record, by any artist, on vinyl. manager, Ninja Tune to a certain catalogue track next. Alex Ives, physical retail & creative When they went to the next one, it Results & key learnings marketing manager, Ninja Tune revealed the next track title from Tom Macdonald, head of digital the new album, each in turn. • To Believe debuted at #19 on the Official UK Album Chart and #1 strategy, Ninja Tune We wanted to tie the second on the UK Vinyl Chart. The album has had over 12.81m combined Marie Clausen, head of Ninja Tune single, ‘A Promise’, back into the streams so far and has reached #1 on iTunes Electronic album charts NA + global streaming & sales initial concept of disconnecting in 11 territories and #3 in the US. To Believe has received brilliant Theresa Adebiyi, creative and taking time to be “in the reviews across the board from (5/5), marketing manager moment”. We put together a site (4/5), (4/5), Mixmag (9/10 – Album Of The Month) Jake Callaghan, marketing assistant, Ninja that would let fans unlock an exclusive and more. Tune 30-second preview of the single (ahead of • The Cinematic Orchestra played at BBC 6 and To Alison Smith, Really Happening release), triggered by their laptop or phone Believe was BBC 6 Music’s Album of the Day on 18th March. Management microphone picking up that the fan was in • TCO’s Instagram following has grown by 99% since the beginning of Peter Berard, Johanna McManus, Brandon a quiet space, with no wider distractions. the campaign and their Spotify following by 20%. Becker and Corey Zaloom (Domino Records) We held immersive album playbacks in • On album release date, Spotify supported with a global marquee London, Berlin, Paris and Tokyo on week showcase banner and 13 homepage takeovers globally. Overview of campaign of release, which took place in the dark, • To Believe was Album Of The Week in Bleep, Norman Records, further playing on the theme of focus and Resident, Banquet, Jumbo, Piccadilly and Album Of The Month in Drift To Believe was The Cinematic Orchestra’s taking a moment away from the madness and Rough Trade. (TCO) first studio album in 12 years, so of the wider world. there has been a lot of anticipation for it. We wanted to reward the people who Building on the album’s core question had bought tickets through TCO’s artist EDIT campaign breakdown of “what to believe?” and the idea of store but hadn’t yet purchased the album, stopping, slowing down and really taking of a limited 12-inch of lead single ‘A so we sent them a dedicated mailer with a CAMPAIGN BUDGET £25,001+ in what’s around us, we had the idea of Caged Bird’ / ‘Imitations Of Life’ that was discount code close to the album release, AUDIENCE DEMOGRAPHIC actually disconnecting from the internet available to buy from local record stores. thanking them for their ticket purchase and how this changes your perception of It sold out within hours. We also revealed and encouraging them to pick up the AGE: 19-24, 25-34, 35-44 what a website is and can be. the album tracklist - it was blurred, but album at a special price. AUDIENCE GENDER (M/F): 50% / 50% We invited fans to go to the band’s there was an allusion to the fact that We ran a ticket giveaway before the LOCATION: Global (Ninja Tune ran the campaign site and were asked to disconnect from there was more coming from the band. album release through another label worldwide excluding North America where Domino the internet. When they did so, an offline At the same time as the website built, bespoke website where, once Records ran it) site appeared, including announcement launch, we uploaded Spotify Canvases to disconnected from the internet, fans were

15 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY DJ SHADOW Mass Appeal / Fame House

Team members involved email drove subscribers to listen to 30 new album. The average open rate for these seconds of the new song, ‘Rocket Fuel’ emails has been 13-15%. Rachel Barrish, Fame House featuring , on YouTube. Before the album was announced, Siena Sohn, Fame House Throughout the rest of the campaign, as Fame House recommended a way to Nick Rizzuto, Fame House recommended by Fame House, DJ Shadow tease the announcement to his social Kieran Hetznecker, Fame House gave his email subscribers the first taste media fanbases by stripping down the Drew Grahn, Fame House of new music, special announcements and three colourways of the album artwork Chris McIlvenny, Tap Management exclusive stories before press outlets or into colour blocks with the copy, “You have DiMartino, Jeff Clyburn, Annie Chen, social media followers. a new message. September 20, 2019” duration of the campaign, re-directing to the latest priority. Mass Appeal An exclusive piece of this campaign has indicating that something was about to Fame House created a video using the inner- artwork Josh Davis, DJ Shadow been DJ Shadow’s personally written stories happen on that date. of the physical vinyl which featured the tracklist. The video starts about the conception of the songs. These The announcement day incorporated out with the image horizontal on a vertical screen, hosted on Overview of campaign, results stories include tidbits about discovering a video designed and edited by Fame Instagram Stories, then includes a message that says, “Please and key learnings new samples, working with collaborators House utilising the album artwork. It rotate your phone” so people are prompted to turn their phone and inner learnings about the decisions also included a new song, ‘Rosie’ with 90°. This plays into the theme of the album where something Three years since the release of his last that brought him to put these tracks on the a hypnotic, looping visualiser edited by so small may seem larger to people accustomed to digital album, legendary mix master and Fame House that lived on the technology doing all the work for them. experimental hip-hop collaborator DJ label’s YouTube channel. Fame The unique creative elements incorporated in this campaign Shadow began the promotion for his House created various versions of introduced a new era for DJ Shadow in his musical career. latest double-album, Our Pathetic the visualiser and the elements of Overall the campaign as of 10/18/19 has received over 1.3m Age. The themes of the album the album artwork for all of the 23 impressions and earned over 3,200 new emails encompass the new era of social tracks on the album. While the standard KPIs for any marketing campaign may include media and an interpretation of this Outlets including The Rolling acquisition, engagement, impressions, conversions etc. the priority fascinating obsession that exists Stone, Pitchfork, Stereogum, BBC here was the music. We wanted to share these tracks and tell stories with screens and the digital world. and other major press outlets in unique and interesting ways with DJ Shadow’s legacy fans as well In July 2019, Fame House shared the creative work made as new fans who may be hearing his music for the first time. archived all previous DJ Shadow by Fame House alongside articles posts on Facebook, Twitter and about the new music. Instagram before DJ Shadow posted Fame House also created a new EDIT campaign breakdown to social media with a stripped- landing page, ourpatheticage.com down version of the new single that re-directed to the Linkfire CAMPAIGN BUDGET £5,001–£10,000 artwork with cryptic copy and a link that hosted the latest release AUDIENCE DEMOGRAPHIC to sign up for his email list. along with a link at the top to the The day before the release, we online shop where fans could pre- AGE: 18-45 sent out an email to DJ Shadow’s order physical music and album- AUDIENCE GENDER (M/F): 78% / 22% 96k subscribers to give them the related apparel. The landing page LOCATION: Global first taste of the new music. The continued to exist throughout the

16 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY BILLIE EILISH Interscope / Dark Room / Polydor

using the existing Billie videos and the streaming uplift of: recognisable platform-specific creative. • Apple – 60%, 67% & then 163% from January to February to March We used UMG Linkfire data and lookalikes • Spotify – 21%, 37% & then 90% from January to February to March for scale to build a representative • Billie Eilish’s debut album went straight to #1 on the UK audience of and Spotify users album chart. to reduce wastage. • It has become the second-biggest-selling vinyl of 2019 and the On release we then switched up our biggest-selling cassette strategy to convert the now massive • Billie has the biggest week-one streams of any debut album artist streaming audience into physical sales in UK history to impact on the UK chart position. A key • She is the youngest female artist to have a #1 album in the UK. initiative here was to partner with Spotify • ‘Bad Guy’ is the fifth-best-selling single in the UK. for a Fan First campaign, giving Billie’s top • Combined sales of 475k in 2019 with debut EP (also 14th-biggest- UK listeners an opportunity to purchase a selling album of the year). UK exclusive picture disc LP of When We • The ASMR connection blew up and was even featured on All Fall Asleep ? – and the BBC News. 2,000-unit sold out in a matter of minutes. Using the streaming audience that we had Team members involved to drive physical sales and chart position invested in and the collectible vinyl products, from a very young and streaming-focused we brought a young digital audience into the Brandon Goodman, management audience and to continue to grow awareness world of physical music consumption. Danny Rukasin, management of Billie to new audiences outside of music. When looking for potential audiences Justin Lubliner, label/A&R From the start of the year for the pre- that fitted with the record, the growing Hannah Gold, US marketing album release we ran a cross-platform trend of ASMR seemed a perfect fit with Ali Tant, UK marketing campaign focused on driving followers Billie’s musical style, current demographic Spencer Moya, US digital marketing and volume to Billie’s catalogue playlists and album title. We reached out to two Hunter, UK digital marketing on streaming platforms. As she was influential ASMR creators on YouTube with Danny Ingham, influencer marketing releasing singles and gaining great traction the concept and they created tributes to Hannah Flaherty, marketing assistant alongside her previous EP, our challenge the album in ASMR form. Using a hot topic was to grow consumption of her whole and exciting new trend to create not just EDIT campaign breakdown Overview of campaign catalogue. As such, we used the creative amazing engaging content reaching new of the key catalogue playlists – Essentials audiences but it grew into a huge news story CAMPAIGN BUDGET £25,001+ The focus of our Billie Eilish UK campaign on Apple Music and This Is Billie Eilish on in the process due to its topical nature. AUDIENCE DEMOGRAPHIC was on internationally growing her online Spotify – to drive familiarity, awareness presence, to make sure that the music was and consumption. Results & key learnings AGE: 0-13, 14-18, 19-24 connecting in the UK and to grow Billie’s UK The campaign ran across nationwide AUDIENCE GENDER (M/F): Female leaning audience ahead of the release of her debut digital OOH and had a targeted social During our pre release campaign driving to LOCATION: UK part of the campaign album. The key challenge on release was media spend to drive fans into the playlist, catalogue we drove an incremental monthly

17 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY BRIAN ENO UMC

Team members involved quotes from Brian. Storylines for the tracks ‘Deep Day’ and ‘Weightless’ were sent Jordan Gold, audience development live, making Brian the first UK artist to manager, UMC utilise this activation. Robin Jenkins, senior A&R manager, UMC continue to boast some of the Bradley Steptoe, A&R video manager, UMC most fervent, engaged online audiences, Mark Wood, marketing manager, UMC none more so than , who hosts Michele Tropeano, senior digital media the most listened to show in the UK. Brian planner, FUSED has featured previously as a guest of Adam’s Ray Hearn, Brian Eno management and is regularly cited as a favourite artist. Martina Connors, Brian Eno management We brokered agreement from NASA to As such, the opportunity felt exceptionally access its incredible visual archive. Their strong in terms of both scale and relevance, Overview of campaign imagery was used in campaign assets to so we commissioned Adam to record a drive social engagement, culminating in sponsored product read for the album. Originally recorded to Al two visually arresting promo videos derived Reinert’s Apollo documentary, For All entirely from previously unseen footage. Results & key learnings Mankind, this year’s 50th moon landing A long-form piece of video content felt anniversary represented an ideal moment necessary to diligently unpack the album’s We set out to create a compelling digital to revisit Brian Eno’s Apollo: Atmospheres deeply emotional themes, leading to Eno On component to the album campaign. This The three campaign promo videos saw 131k YouTube views, & . The album was remastered Apollo. The documentary shows Brian, Roger culminated in the album charting at #16, and a suite of cutdown assets were used to keep socials engaged for release alongside an album of new and Daniel discussing the incredible human Brian’s highest ever UK chart position and and active. collaborations between Brian, Roger Eno achievement and looming environmental first top-20. Adam Buxton’s sponsored read ran across all episodes of his and Daniel Lanois – their first since 1983’s disaster that inspired them. Topically this is Developing Brian’s social footprint was a , meaning that the listeners of multiple episodes would original release. Not unusually for ambient very relevant to mainstream discourse and central focus for this campaign. Throughout experience the endorsement each time. Thus, Brian was ever- music, the album is often consumed the younger audience we aimed to engage. the campaign we observed a three-fold present to a significantly relevant and engaged audience of 250k via non-artist playlists, presenting an We considered a number of partners for increase in engagement on Brian’s Facebook weekly listeners throughout the week of release. opportunity to grow awareness within a launching this film, but decided on Noisey, page. In order to replicate the success story sizeable but passive audience. who we felt fostered a community that of Brian’s Facebook page, we created official The project’s visual potential meant that would be most receptive to the message. Instagram and Twitter presences and set up EDIT campaign breakdown launching an official presence on Instagram Brian’s music streams prolifically, but a YouTube OAC, organically growing Brian’s was key. We worked with Facebook to we wanted to further encourage “lean- audience by a further 50k by campaign end. CAMPAIGN BUDGET £15,001–£25,000 ensure that the profile was immediately in” behaviour. We made submissions The cosmic visuals saw exceptional advert AUDIENCE DEMOGRAPHIC verified and promoted across its music to Spotify’s Storylines alpha test, a new performance, with a 60% higher CTR than pages. The profile provided a flourishing format that allows fans to scroll through our internal benchmark. Adverts also drove AGE: 25-34, 35-44, 45-59 to the visuals created during the visuals and text during mobile playback, significant growth at artist level, with 4k new AUDIENCE GENDER (M/F): 70% / 30% campaign and a place for creative, younger encouraging enriched listening. We paired followers on Brian’s Instagram profile in the LOCATION: Global audiences to start engaging with Brian. impactful NASA visuals with powerful first two days.

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in 2016 and 2017. The goal with 2019’s album and its artwork – an interactive bot named Tallulah which Tallulah was to engage the band’s engaged fans with information on the new album, quizzes about existing fanbase whilst at the same time the band and exclusive new content. developing new audiences through social The team at Believe also built an Instagram AR filter which media and streaming. allowed fans to wear the iconic Tallulah mask to celebrate the At the heart of the campaign was album release. the band’s D2C store which included Orchestrating a well-rounded campaign, the team at Believe limited signed CDs and vinyl as well as and the band’s managers – Darrin Woodfort and David Rowell ticket bundles, collectors’ items and D2C – managed to grow the band’s audience exponentially and exclusives. delivered a Top 5 charting album, marking the band’s highest- Driving traffic to the band’s store was charting album in 14 years. key so the team created bespoke content to engage fans and garner interest in the Results & key learnings range of products. This included time- lapse videos of the band signing stock, • Spotify daily listeners up +191% Team members involved a high-quality video of the first test since the release of the band’s last pressing and an in-depth interview with album in 2017 (+32% since 2018) Malena Wolfer, head of artist services, singer Grant Nicholas talking about each • Spotify followers up +145% since Believe track on the album. the release of the band’s last Mitch Wade Cole, digital marketing manager, This content, alongside official music album in 2017 (+42% since 2018) Believe videos and third-party content from press • Album Tallulah charted at #4, Jack Lawrenson, trade marketing manager, or radio, was shared on the band’s socials marking the band’s highest- Believe and promoted to key audiences. We put marquee for the charting album in 14 years. David Rowell, Darrin Woodfort, Matt Page, a strong emphasis on ensuring that the album, but also • Tallulah was the second- management right targeting was applied to the content by direct-to-fan highest new entry on week of Mikey Eaton, digital marketing for Feeder, and messaging relevant to the respective initiatives such release. ME Digital audiences, as well as really made sure as the weekly James Corbitt / Jack Widdison, digital that data was the key driver for our digital #FeederFriday marketing for Feeder, Autonomy Digital advertising campaign. playlist which EDIT campaign breakdown Olie Keogh / Dan Sullivan, digital advertising, Having had core fans on board early on, featured the band’s HypeLab the challenge was to reach new audiences favourite new CAMPAIGN BUDGET £25,001+ Bruce McKenzie, D2C, Townsend and grow the band’s streaming figures music and was AUDIENCE DEMOGRAPHIC throughout the course of the campaign. updated every Overview of campaign This was not only achieved by tapping into Friday on their Spotify page. AGE: 25-34, 35-44 Believe’s global digital retail team in 44 Another engagement tool was the AUDIENCE GENDER (M/F): 50% / 50% Feeder were in the midst of a resurgence, countries who secured playlist additions launch of the band’s Facebook messenger LOCATION: UK having scored consecutive Top 10 albums around the world and a global Spotify bot which tapped into the narrative of the

19 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY DANI FERNÁNDEZ Warner Music Spain

Team members involved

Alberto De Miguel Sergio Méndez Raquel Sanz Raquel Hernández Lucía Bravo Juanjo González In order to continue spreading the “fire”, we built a physical Overview of campaign mail box which will go with Dani Fernández on his tour all around Spain. Everyone attending his will be able to participate, Dani Fernández – a Spanish leaving behind all those bad things by writing them on a piece of pop artist, and paper and throwing them in the mail box. All these papers will singer – launched his first be transformed in confetti and will be spread all over the place album after two years of hard during the last of his tour. work on 24th May. The album, Moreover, we organised an event for the album called Incendios (translated presentation with media and influencers, where we gave each as Fires), has a meaningful attendee a personalised candle with different parts of songs message: it contains 10 from the album. beautiful songs, in which the artist has aimed to express the Results & key learnings different phases of life that he has gone through. • 3,054 users shared their personal messages with the artist He stated that his • Successful tour full of sold-outs shows key learning was •#2 position in Spanish sales list for albums week 22 the following: “It is photos) together • Database growth: 80% not where I want to with their respective go, but where I don’t individual messages want to go”. and were placed into EDIT campaign breakdown For the release, we a common virtual wanted to focus on the album title and on bonfire. After a couple of weeks, he made CAMPAIGN BUDGET £2,001–£5,000 his key learning mentioned, so we created an Instagram Live in which the site “burned AUDIENCE DEMOGRAPHIC a site where fans could write all the bad down” leaving in ashes all those bad things things that they wanted to let go or leave that were shared. AGE: 25-34 behind (memories, obligations, someone…). In total, 3,054 people participated in AUDIENCE GENDER (M/F): 13% / 87% These bad things were converted into the action, and more than 500 followers LOCATION: Spain (90%), US, Mexico, Argentina virtual items (note pads, teddy bears, joined the virtual bonfire.

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Team members involved loops as Canvases his monthly residency on the for all his back station. Samantha Sissons, head of catalogue tracks. marketing A huge, multi- Results & key learnings Maja Matacz, digital marketing faceted partnership manager with Spotify UK • Crush has entered the Official Alex Ives, physical retail & creative also ran throughout UK Albums Chart Top 40 at #37, marketing manager the campaign for being the first Floating Points record to reach the Top 40. Tom Macdonald, head of digital Crush, including • The album went straight to #1 in the UK Dance Chart, #4 in strategy large-scale, the UK Indie Chart, #4 in the UK Vinyl Chart and #1 in the US Marie Clausen, Ninja Tune NA head bespoke projection-mapping Billboard Electronic Chart. Jake Callaghan, marketing of the album visuals across • Crush received extensive marketing support from Spotify on assistant (all above Ninja Tune) Ely’s Yard in London and a release week on top of the aforementioned projections and website Dom Smith, Alison Smith, Really microsite launched on release campaign, including a global homepage banner, a UK & US Premium Happening Management day, giving fans the chance to view Homepage Takeover and organic and paid social support. Floating Peter Berard, Johanna McManus, exclusive, reactive visuals by Hamill Points’ monthly listeners on Spotify have nearly quadrupled. Sam Brandon Becker and Corey Zaloom, Industries while listening to the was featured in five New Music Friday playlists and was featured Domino Records album on Spotify. We uploaded on the cover of their Altar playlist. Crush has accumulated 5.46m+ Hamill Industries further bespoke, visual Canvases for streams across Apple Music, Spotify and YouTube to date. Jess Plummer, Tom Deffee, Solar each album track and created a wide • Reviews for Crush have been extremely positive — Pitchfork have Management and rainbow swirls of bubbles morph to suite of social assets for artist, label and given the album their prestigious Best New Music accolade with an the kick of the bass drum, and provided a Spotify to support the album, projections excellent 8.3 score, Mixmag have made the release their Album Of Overview of campaign striking aesthetic continuity throughout event and website online. The Month with a brilliant 9/10 rating and The Times ran a the album release and onwards through An exclusive album playback took place full-length feature and interview. The first album in four years from Sam Sam’s touring schedule. at Public Records in New York ahead of • Sam was a guest on the BBC 6 Music show and Shepherd [AKA Floating Points] took five The video for first album single ‘Last album release, with key industry contacts ‘Crush’ was BBC 6 Music’s Album Of The Day. intense weeks to record and it features what Bloom’ was filmed over 30 days and involved and fans listening to Crush for the first he describes as “some of the most obtuse, several scale models, a five-axis arm, time alongside album visuals, followed by strange, difficult music of my life.” lasers, motion controls and 3D printed 14 a Q&A with Sam by noted journalist Andy EDIT campaign breakdown A massive feature of the campaign meters of tunnels. To illustrate this incredible Beta (Pitchfork, Fader). was his on-going creative relationship process we released a “making of” video. Sam also celebrated the album release CAMPAIGN BUDGET £25,001+ with -based studio Hamill Ahead of the album announcement, by hosting a six-hour NTS show on AUDIENCE DEMOGRAPHIC Industries, whose vision was to create a Floating Points released a standalone Monday 28th October featuring high- constant dialogue between the music and single ‘LesAlpx’ / ‘Coorabell’. We teased profile guests, including , Ben AGE: 19-24, 25-34, 35-44 the visuals. The campaign and live show this with a Spotify takeover changing UFO, Caribou, Midland, Pearson Sound, AUDIENCE GENDER (M/F): 65% / 32% / 2% non-binary visuals focus on the natural world, where all his profile imagery to single artwork Mafalda Elkka, Zach Cowie and more. LOCATION: Global landscapes are responsive to the music visuals and utilised a first set of visual Sam has also announced the return of

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channel on Day (May 4th) as a surprise for Giggs who is a big Star Wars fan, so he could also be a part of the online conversation on that day by posting on his Instagram. An official GIPHY account was created and verified where we uploaded bespoke Instagram Story stickers for the artist. We have also created an immersive album artwork-based Instagram camera effect as we continue to promote this album on socials for the artist eight months after release. Another artist first was a promoted Snapchat story booked to content and digital initiatives through merchandise and playing the ‘187’ video promote the album, which drove groundbreaking results. innovation and partnerships. across the city via a large mobile screen. We worked with Giggs and director Island also worked with AR company Results & key learnings Myles Whittingham to create a film-style Gate Reality to create an artist-first trailer using high-end CGI technology to moment during album release week with • Social media followers increase – 200k new Instagram followers announce the album featuring big names a painted mural in Shoreditch which had since album release (an increase of 25%, from 800k to 1.1m) (Jordan Dunn, Swizz Beats, ) an associated AR app. This allowed fans • Instagram engagements since launch – 9m Team members involved to ignite a wave of excitement in Gigg’s to bring the album artwork to life and • AR mural featured in Metro paper and Music Ally blog fanbase and the music community alike. attracted music and tech fans alike and • Total YouTube video views – 8m Akosua Scantlebury, marketing manager This approach was an artist first and the translated online. • Giphy views – 1.5m Johnny Brocklehurst, marketing director director was then contacted by French We lined up creative collaborations • Snapchat Story – served over 815k impressions. Completion rate Faye Williams, senior digital marketing Montana to replicate the concept for a based on the artist’s interests to further come in around 25%, proving a higher level of engagement within this manager video for his track with and promote the album. @Reubendangoor environment. Alex Boateng, president of urban . reworked the album artwork, which • Top 10 charting album Tara Kefayati, marketing assistant A further six music videos were was then printed on a limited run of Rosie Cumberlidge, digital media planner released throughout the album campaign, silk handkerchiefs (requested by the Alastair Smith, director of commercial each video was launched with the artist) and T-shirts as official album EDIT campaign breakdown Trenton Harris and Michael ‘Buck’ Maris, YouTube Premiere feature garnering merchandise. Marketing then built up management excitement 24 hours before their releases. a fan-first event which saw fans queue CAMPAIGN BUDGET £25,001+ Giggs also undertook a BIG BAD… around the block for the rare items and to AUDIENCE DEMOGRAPHIC Overview of campaign album tour across the UK to get fans meet both artists. engaged in the album working with We also collaborated with Britain’s Got AGE: 19-24, 25-34 To promote Giggs’ album BIG BAD… Island YouTube to wrap a tour bus in the album Talent’s Boogie Storm stormtroopers who AUDIENCE GENDER (M/F): 75% / 25% Records worked closely with management creative. Spotify also initiated a BIG recreated the ‘Baby’ album track music LOCATION: UK and the artist to facilitate groundbreaking BAD… pop-up in giving out video and released it on their YouTube

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Team members involved Child’ video was so dialogue-heavy, we used funny captioned bits in our digital advertising. Brooke Salisbury, head of marketing, The band would share live video from fans into their IG stories. Domino Most of these videos came from those underplay shows, so the Jonny Bradshaw, general manager, Domino enthusiasm in the room was contagious, even via watching on Peter Berard, US label manager, Domino Instagram. Corey Zaloom, senior digital marketing Custom Snapchat filters were set up for each show as well. manager, Domino We also filmed a campaign called What’s In The Tub?, a series Will Grant, UK project manager, Domino of vignettes showing people in bathtubs full of the things that Johanna McManus, US project manager, make them happy (literal baths full of ecstasy). Domino This formed the backbone of our “out now” creative. Videos Sam Denniston & Verdigris Management were delivered sequentially, so fans would see a different one Big DB Agency each time the ad was served.

Overview of campaign Results & key learnings

We started the Hot Chip campaign looking We saw increased engagement to reactivate the band’s fanbase as their on all socials, notably Instagram last record was released in 2015. We which grew by 80%, particularly focused on driving followers on catalogue in the 18-24 segment. We’ve playlists, building good on socials added around 15k followers and using media (like IG stories) that are to the This Is Hot Chip playlist core channels now but were new or non- on Spotify in the last year. The existent on the last campaign. band was able to sell out their Before the album announcement, we largest London show to date at announced a small underplay tour and the end of October. used this to rebrand artist properties with new creative that hinted at the album art but were in black and white. EDIT campaign breakdown We drove email signups by offering a pre-sale code. CAMPAIGN BUDGET Not given Video teasers for ‘’ began AUDIENCE DEMOGRAPHIC rolling out alongside a performance and broadcast from 6 Music Festival. A Bath AGE: 19-24, 25-34, 35-44, 45-59 Full Of Ecstasy was announced with the code for those shows. AUDIENCE GENDER (M/F): Not given ‘Hungry Child’ video and a world tour. Pre- Video content on socials was essential LOCATION: Global orders of the album came with a pre-sale for the campaign. Because the ‘Hungry

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such as , , Curtis Given the podcast’s subject matter, Mayfield, and more. we were mindful of placing advertising We had been speaking to advocacy in sensitive environments. We chose to organisation Global Citizen about the partner with ethical ad-server Good-Loop, possibility of partnering with Hozier and which allows users to watch an advert to conceived the idea of a podcast in which unlock a free charity donation by diverting Andrew (Hozier) sits down with activists half the cost that would to discuss their history in activism, normally be consumed centred around the UN’s 17 Global Goals by the publisher. This to end extreme poverty and reduce meant that we could inequality by 2030. reinforce the podcast’s Lennox episode drove listeners to get the UK government The aim of the podcast is to encourage subject matter to grant funding to UNFPA Supplies – the world’s largest activism amongst the listeners and drive through serving the provider of family planning services like contraception. It people to take action related to the issues trailer, giving users worked: a month later, Britain committed £425m of UK discussed via the GlobalCitizen.org/ the opportunity to aid money to the programme. It’s not a one-time deal Team members involved CryPower hub. donate to the very causes either — each new action-taker goes on to take an average Over the course of nine months, we highlighted in some of the of 4.47 actions on the platform. Will Beardmore, Angela Grech, Alex Joseph, recorded six episodes. episodes including the Grenfell The podcast has also highlighted key campaigning moments, Island Records UK joined to talk about her history fighting for Foundation, The Circle and War Child. with strategic timing of episodes drawing attention to historic Caroline Downey, Caroline Henry, Hozier global via her organisation The global development progress. For , in the same week that management Circle. spoke about his work with the Results & key learnings the conversation with Bono aired, $14bn was committed to the Graham Hodge, Matt Everitt, Natalie ONE campaign and (RED). Nick Grono, an Global Fund to Fight AIDS, Tuberculosis and Malaria, a key focus of Jamieson, Cup & Nuzzle Australian activist and CEO of the Freedom The podcast shot to the top of the iTunes Global Citizen’s advocacy. Callum Roberts, Marla Altschuler, Ra’ed Fund spoke about modern slavery. Marcus Music podcast chart and appeared in the top Social media sentiment is 99% positive in reaction to all content Khan, Cantine Mumford spoke about his history with War 200 of all podcasts in 20 countries. relating to the podcast. James Hitchings-Hales, Global Citizen Child and Grenfell United. At the time of writing, over 200k listens Alyssa LoPresti, US collaborator Mavis Staples spoke about her across all episodes and platforms have been history campaigning for civil rights with her recorded. Overview of campaign sisters and Martin Luther King, and Colm Most importantly, the podcast has had a EDIT campaign breakdown O’Gorman, the CEO of Amnesty International tangible impact on people taking action via The Cry Power Podcast is inspired by ‘Nina , spoke about his life, including when the Global Citizen platform, driving over 27k CAMPAIGN BUDGET £5,001–£10,000 Cried Power’, the first single from Hozier’s he famously sued the Pope. visitors to the hub so far with almost 1k new AUDIENCE DEMOGRAPHIC second album, Wasteland, Baby!. As Hozier Each episode rolls out across all major registrations. Impressively, 54% of those who told the Song Exploder podcast, ‘Nina Cried podcasting platforms and YouTube, with signed up have been converted into action- AGE: 14-18, 19-24, 25-34 Power’ is a song that credits “the spirit accompanying video trailers, Global Citizen takers, suggesting that listeners are inspired AUDIENCE GENDER (M/F): 50% / 50% of protest, and the spirit of direct action”, editorial, specific campaigns for listeners enough by the content to commit to making LOCATION: Global celebrating activism in music from greats to take action on and bespoke artwork. a real difference. For example, the Annie

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and overall YouTube channel health. Over and above the 30m views added to date from the 35 new videos, we employed two different models to track uplifts in views, watch time and subscriber numbers. First, we assessed the size of that step change by Team members involved Yellow Brick Road world tour kicking off in Rare early career moments were comparing views, watch time and subscribers in the eight-month September 2018 and the Rocketman biopic unearthed alongside legendary shows campaign period (October 2018 to May 2019) versus the prior eight Robin Jenkins, senior A&R manager, UMC in May 2019. YouTube was agreed as the such as Dodger Stadium in 1975, releasing months (February 2018 to September 2018). Significant increases Katie Alley, head of digital, UMC primary focus, steered by Elton’s glittering the latter to coincide with the worldwide were seen across all three, as views (+44%), minutes (+53%) and net Shannon Conway, creative content manager, video archive. promotion of Rocketman and Taron Egerton subscribers (56%) were all heavily improved. UMC Our heady mission involved researching, channelling that unforgettable performance Key for us was also understanding the long-term impact. To that Orla Lee-Fisher, EVP marketing, UMGI sourcing, supplying and communicating in head-to-toe baseball gear. end, we analysed the three months before the campaign started (July Rachael Paley, senior artist manager, Rocket live performances which had never before Each piece of archive footage was 2018 to September 2018) and three months after it concluded (June Music reached Elton’s official channels. We painstakingly transferred and restored to 2019 to August 2019). Both periods saw no catalogue uploads and Carl Butler, social media manager, Rocket M. committed to a new release every week for industry gold-standard specs so that fans are comparable in terms of wider influences or activity. Oliver Maingay, director, Vanderquest the entire period, all brought together under were able to view historic performances from It turns out the lasting effect of our activity was even more the #EltonLive campaign banner. Elton’s career in HD/4K for the very first time. pronounced, with views (+119%), minutes (+111%) and net subscribers Overview of campaign Programming was designed to Deep optimisation was achieved via (+106%) experiencing remarkable growth. Our decision to choose a harmonise with “real world”’ moments, branded thumbnails, smart keywords cohesive approach demonstrates how catalogue can be exploited for Rampant frontline promotion and studious ensuring catalogue drops were in lockstep and overhauled descriptions linking to universal benefit and has the power to double long-term commercial catalogue enrichment are not natural with anniversaries, regional shows and the wider artist activity alongside wider returns in this space. bedfellows. The relationship is often binary all-important film. This created powerful digital messaging via eCRM and channel- and at times of breathless frontline activity, relevance for the new content and captured optimised cutdowns. The intensity of this catalogue strategy often has to wait its turn. distinct audiences as they became more delivery was a real challenge, but every EDIT campaign breakdown Aiming to disrupt this conventional engaged with Elton throughout the year. time we leaned-in with new catalogue norm, we set out to prove catalogue can Label, artist and broadcast archives were content we were rewarded with deep and CAMPAIGN BUDGET £5,001–£10,000 fundamentally enhance every aspect of any scoured to find historical performances from lasting engagement from fans. AUDIENCE DEMOGRAPHIC wider plan. Above all our objective was to specific locations to match the first stretch drive incremental streaming consumption of Elton’s world tour. In total we delivered 35 Results & key learnings AGE: 19-24, 25-34, 35-44, 45-59, 60+ and lasting commercial value. live performance videos using iconic footage AUDIENCE GENDER (M/F): 60% / 40% Our field of play was an eight-month captured throughout the last 50 years of This campaign marked a dramatic step LOCATION: Global window bookended by the Farewell Elton’s career. change for Elton’s catalogue consumption

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Team members involved and 1,000 comments in less than an hour. The innovative blend of two songs James Embiricos, marketing manager in a video piece that mixed both short- Jack Melhuish, director of marketing, form and long-form content enabled partners and strategy us to engage with different audiences Thomas Jones, digital marketing manager and playlists on streaming services to Bethany Cherry, streaming lead showcase the range of the album. Be-Hookd (social agency) Next, we created a piece of content that existing long-form content. that equated to a growth from 118k Richard Thomas and Tanyel Vahdettin, allowed Kano to discuss the current cultural Later in the album campaign, we were to 998k monthly listeners (745% management landscape in conversation with Akala. Fan able to capitalise on the profile of Top Boy by growth) and a 25% increase in Spotify reaction to these two prominent figureheads re-targeting a new audience that had been followers. Overview of campaign travelled with unanimous social support. We introduced to the artist from the series. On socials, we saw a massive strategically rolled out five segments in the Another key area in the digital strategy uplift in channel growth and overall build up to album release, all supported via of this campaign was podcasts. With interaction. Instagram grew by over YouTube, socials and on platform. multiple podcast promo moments (Eddie 60% throughout the campaign and In parallel to this, we worked with Hearn: No Passion No Point, Distraction is now approaching 500k followers. Spotify throughout the campaign with Pieces with Scroobius Pip and Interaction rates nearly tripled an aim to connect fans to the record Saved My Life), we found an opportunity within this period and resulted in a and create a highly impactful moment for for unfiltered and in-depth conversation. total of 1.5m interactions during the course of the campaign. The the album post-release. For a This was a strategy that allowed Kano top performing post was a selfie from Kano, which is testament session, we recorded a completely bespoke to articulate the album message with to getting him active on the platform. Total reach on Facebook interpretation of two tracks (one new and in-depth conversation instead of the more exceeded 1.4m new fans (all organic reach), with the top performing one classic – as opposed to the typical cover traditional pull-quote media outlets. post being the tour announcement where we also drove sales of the format) following the instrumentation album. This post reached over 230k fans. On Twitter, we’ve seen over themes of the record. Results & key learnings 3m impressions and a top performing post which alone saw over On album release, we worked closely 578k impressions and an engagement rate on 3.9%. with the Apple UK team around their The album entered the UK album charts Our mission statement for Hoodies MADE IN LDN campaign – a programme at #8 and it was through an adjustment All Summer was to deliver a campaign that inspires some of the most vulnerable of the streaming balance that allowed EDIT campaign breakdown that represents the themes, cultural young Londoners. On release day, store us to achieve our target of a Top 10 importance and quality of the record, profile then launched with an in-depth album. Powered by the various streaming CAMPAIGN BUDGET £10,001–£15,000 while staying true to Kano’s commitment commentary from Kano, resulting in playlist activations, we managed to raise streaming AUDIENCE DEMOGRAPHIC to artistry and integrity. covers, homepage placement and driving from a 13% week-one share on Made In On album announcement, we launched momentum around the release. The Manor to over 60% week-one share AGE: 25-34 a YouTube premiere of the long-form, two- Instagram and Instagram Stories soon on Hoodies All Summer. This totalled to AUDIENCE GENDER (M/F): 63% / 37% track music video ‘Trouble’ (‘Trouble’/‘Class became an active and integral channel to a monumental streaming consumption LOCATION: UK Of Deja’), which exceeded 100,000 views the campaign with bite-sized versions of the of 4.3m streams in week one. On Spotify,

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Team members involved

Frances Bowdery, Vector Management Stephanie Pensa, digital marketing director, RCA Lagan Sebert, creative, Magic Seed Arianne Ahimsa, senior account manager, Beautiful Digital Mikey Eaton, digital creative, Beautiful Digital

where Kesha plays the part of an unruly televangelist, we worked with Superphone announced the single title via voicemail character from the music video. This character is now being used to create a hotline fans could text or and it received a massive reaction online, cross-social to push merchandise in an infomercial style. call for exclusive information about the whilst further increasing our contact release. This was accompanied by a signups even more. For Kesha’s single Results & key learnings cross-social campaign encouraging fans release party, we sent out private invites to dial in. to fans in via Superphone. This • We received over 80K calls to the phone number The striking creative was based became a great tool to target fans in • 10K+ phone number-based signups to be utilised throughout the on eighties-style televangelist Kesha’s strongest performing markets. High Road album campaign advertisements and allowed us to After the hotline campaign, we • Huge increase in open rates for messaging directly to fans use a unique and quite vigorous tone announced the record through a viral album • Using characters from the root creative can be a really fun and when asking fans to get involved. We trailer which brought together snippets engaging way to promote the record Overview of campaign of the visual creative, music and videos. This spread fast online and built further Kesha’s #1 album Rainbow made her a excitement amongst fans for the record. EDIT campaign breakdown global symbol as the album laid bare the This was followed up with a video of fans’ personal trauma she had experienced in reactions listening to the single which was CAMPAIGN BUDGET £25,001+ the music industry. For her return, Raising another viral piece on Kesha’s socials. AUDIENCE DEMOGRAPHIC Hell, Kesha wanted a shift in tone. She Once the music video was released, was ready to “write the fuck out of some fans started piecing together the puzzle AGE: 0-13, 14-18, 19-24, 25-34 pop songs”. The digital campaign needed and saw that the televangelist character, AUDIENCE GENDER (M/F): 30% / 70% to reflect this. played by Kesha when we pushed the LOCATION: Global Taking our cues from the music video hotline, was actually a fully realised

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The landing page received: • 80K visits • 30K users registered • 05:54 average user session

Our biggest learning was to push songs with original actions Team members involved strategy to increase the visibility and the communicated the action and results and not just traditional ads. Fans and consumers are willing to popularity of the song when the curve had were amazing. During the first week, the try new experiences and participate in innovative contests. Both Alberto de Miguel started to decrease. game had 80k visitors, 31k users and the actions increased visibility across digital, expanding the artist’s Sergio Méndez We started by analysing Kidd Keo’s average game session was 05:54. song and name. Raquel Sanz audience. His urban sound connects Moreover, we created an exclusive kit Raquel Hernández perfectly with the YouTuber/gamer world, that contained a belt pouch, similar to the Lucía Bravo so we decided to develop an online video ones used by the artist, some snake- EDIT campaign breakdown Juanjo González game that would attract and engage his shaped sweets and an antidote against fans in a natural way. The game consisted poison. The kit was sent to influencers CAMPAIGN BUDGET £2,001–£5,000 Overview of campaign of gaining as many gold coins as possible that had similar audiences to Kidd Keo’s. AUDIENCE DEMOGRAPHIC while killing or hiding from “poisonous Kidd Keo released his single ‘Serpiente snakes”. Results & key learnings AGE: 19-24 Veneno’ (translated: ‘Poison Snake’) on The contenders could win an AUDIENCE GENDER (M/F): 70% / 30% 26th April 2019. As Spain is one of his exclusive tracksuit from Keo Couture The game was embraced by Kidd Keo’s LOCATION: primarily Spain, Mexico, Argentina, Chile main markets, we decided to create a (Kidd Keo’s brand). Kidd Keo posted and fans who played several times.

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Team members involved The album was accompanied by a Snapchat AR filter which allowed fans to Michaela Browne, digital manager be part of the artwork for the first time. It Mauro Borges, creative/content director was important that every partner content Michael Rivalland, product manager collaboration was a media first. Patricia Odje, marketing Within the first week of the album Dan Sanders, creative release, the boys sat with Gran Krystal Sonni Ali, creative for their first episode with E4 which was chat rooms and the video trending at #3. ‘I Spy’ (remix) finished Sibindi & Riki Bleau, management then replayed and talked about during at #18 her interview on This Morning. The boys • 9Gag Halloween confession Tuesdays resulted in 13.3m Overview of campaign launched GRM Daily’s new series In Da impressions, 10k shares and 20k+ clicks to artist profiles Cut, performed for ’s new series • Krept trended on Twitter on release day We launched the campaign with ‘Ban Drill’ Rounds, did an exclusive Link Up TV • Oloni Twitter #RevengeIsSweet campaign gained over 4m (the video directed by Rapman) alongside with fans, collaborated impressions and 1m total engagements in two days the single with a screening and a panel, with influencer Oloni for a viral setting the theme of the campaign to come conversation on Twitter and launched the Krept & Konan – by curating a cultural conversation. second series of Not For The Radio for the Revenge Is Sweet / Chart position Then came an official change.org petition tell-all interview. • The album charted at #5 with over 8k sales, with all three singles in to stop silencing musicians, which We also launched an exclusive episode the chart resulted in the band being invited to talk at of Chicken Shop Date with Amelia • Both singles in the top 30 – ‘Tell Me’ at #23 and ‘G Love’ at #28 the Houses Of Parliament alongside Diane Dimoldenberg heading to Crepes & Cones • ‘First Time’ also charted at #63 Abbott to discuss the issues surrounding for a trial shift. It has had over 200k views • The Grime Gran content was picked up by This Morning and they . across all content to date. invited Grime Gran and Krept & Konan to go on the show to promote The artwork shoot was a digital and the content content-led initiative as it was planned from Results & key learnings • We gained over 6k emails since the beginning of the campaign – a the beginning that it would be the centre massive achievement of a full 360 immersive online and offline • Up 37k YouTube subscribers marketing campaign. • Up 7m YouTube views on the official artist The artwork was launched and it only channel EDIT campaign breakdown took minutes until fans started to pick up • Up 30k Spotify followers on the 12 Easter eggs that were hidden in • Up 200k Spotify monthly listeners CAMPAIGN BUDGET £15,001–£25,000 the artwork. We then launched the official We chose two key pieces to go live during • Over 100k views on the album trailer AUDIENCE DEMOGRAPHIC album trailer, another massive moment the pre-order period. The first was Krept & on socials for the boys as a plethora of tastemakers Konan’s bespoke content game Sour Bars • ‘Ban Drill’ video gained 2m views AGE: 14-18, 19-24 championed the content. The trailer on Buzzfeed. 9Gag (51m followers) featured within the first 48 hours, ‘I Spy’ and AUDIENCE GENDER (M/F): Not given continues to be used as video advertising on Krept & Konan in the confessions Tuesday ‘I Spy’ (remix) launched with a YouTube LOCATION: UK Morley’s chicken shop screens. on Halloween. premiere, gathering over 8k fans in the

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song started to rise on the UK chart, streaming, radio airplay and club charts, offers for bigger media came in. By early summer 2019, we knew we had a song that was being embraced by the mainstream and championed by our fans. We doubled our efforts in leaving no stone unturned. TikTok challenges, influencer campaigns, Shazam unlock campaigns and strategic online and out-of-home advertising followed. With each new piece, the song continued to grow and reach a new audience.

Results & key learnings tired’ (with Troye Sivan) marked a key between both artists was key so we breakthrough for Lauv in the UK and devised a series of video content pieces ‘i’m so tired’ proved to be both artists’ many other markets around the world. with them: some were created and owned biggest success to date in the UK – With its release, the AWAL team devised by us (such as a cooking show); and others #9 OCC, #10 airplay, certified gold, #5 a multi-tiered marketing strategy aiming were made with key media partners Shazam, playlisted across BBC Radio 1, to capitalise on the growing mainstream including MTV, Vogue, Genius and Billboard. , Kiss and a host of regional and audience familiarity with ‘I Like Me Better’, These pieces helped new fans make real commercial networks. increase Lauv’s growing core audience, connections with both artists and served We saw Lauv’s monthly listeners double, his social following convert Troye Sivan fans into Lauv fans the campaign well. dramatically increase and the size of his UK shows double during the and expand the song’s reach to a wide and To keep our streaming and consumption cycle of the single.The strategy with ‘i’m so tired’ was to give the song Team members involved mainstream pop audience. momentum up, we released a series of a face from the start and through considered content, considered When launching the track, we knew additional pieces, including a stripped and strategic marketing and determined promotion we achieved this. Nathan Liddle-Hulme, UK marketing, AWAL the best and most authentic way to reach version with live video and a remix from UK Not one part of the campaign was the main driving force behind its Justin Macchio, US Marketing, AWAL Troye Sivan’s fans was through his own producer MNEK. These pieces allowed us success. It was the natural momentum of lots of small wins over a Francesca Burton, international marketing, channels. We created two separate official exposure in new areas within streaming, period of time. AWAL audio videos – one for Lauv’s channel radio and online and allowed fans already Aaron Bogucki, digital marketing and and one for Troye’s. We used a key visual aware of the song to forge a deeper strategy, AWAL narrative for the forthcoming official video connection with it. EDIT campaign breakdown Lauren McKinney, digital marketing, and expanded it for the official audio video. UK radio was growing well, with In one video, Lauv drives Troye through the Capital and Kiss networks fully supporting CAMPAIGN BUDGET £25,001+ Emme McDonald, marketing/label manager, LA hills; and in the other, Troye drives Lauv. Lauv for the first time. We also undertook AUDIENCE DEMOGRAPHIC Foundations Both videos were launched at the same a full commercial club promotion campaign time to great success. Audience reach was in the UK alongside a student and in-store AGE: 14-18, 19-24 Overview of campaign much more important that splitting view retail promotions campaign. AUDIENCE GENDER (M/F): 35% / 65% counts across the two videos. All of these small pieces were adding to LOCATION: Global (but detail relayed here is UK) Released in late January 2019, ‘i’m so We knew early on that the chemistry the overall growth of the song and, as the

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Team members involved As we moved through the year, we were able to create more buckets and retarget in a way which allowed us to continue the Tom Herbert, director, digital strategy story for those already engaging at the same time as beginning Bethany Dawson, creative marketing the story for others. manager Mike Engstrom, SVP marketing Global Results & key learnings Catalogue Tim Fraser-Harding, (former) president, • Listeners to the band under the age of 18 growing YoY at +21% Global Catalogue • 35% of listeners to the band in 2019 are new listeners and did not Giancarlo Sciama, consultant, Global stream Led Zeppelin on Spotify in 2018 Catalogue • 31% of new listeners are based in the US, with Latin America Jason Elzy, VP PR, Rhino US comprising over 17% Robin Hurley, SVP A&R, • Total Led Zeppelin streams are up 20% YoY On the playlists: Overview of campaign It allows fans to build a playlist • The playlists all became the best performing (in terms of Led using any track from the Led Zeppelin Zeppelin streams) non-Spotify-owned lists at point of launch 2019 marked the 50th anniversary year of catalogue. It automatically populates their • Average streams per listener extremely high: listeners landed on Led Zeppelin. To celebrate, we developed a Spotify library with custom, personalised them and stayed there consuming multiple tracks campaign which, despite no new material to accompany the playlist and • The tracks which were chosen by the influencers regularly became or band involvement, engaged existing fans allows fans to share via social media. It trending tracks but, arguably more importantly, reached a uses fan selection data creatively, giving On the videos: brand new audience for the band through fans a personal insight, within the global • 8.5m total video views: half organic and half targeted at the specific a number of influencers coupled with demographic of Led Zeppelin fans. audience we had our sights on innovative marketing activations. Every user on the site was cookied to • By a long way the two most engaged posts on the Led Zeppelin This was rolled out globally throughout provide rich user preference data. page are videos 1 and 2 which launched the Led Zeppelin History the year and culminated in a new content Our strategy was to exclude existing series and set the tone for the rest of the year series which further engaged the new Led Zeppelin fans from all paid marketing listeners to the band, continuing their of these playlists, instead focusing on from passive non-listeners to much younger, new audience consisting of EDIT campaign breakdown active fans of the band. fans of the influencer artists plus others We created an interactive microsite to from the genre. CAMPAIGN BUDGET £25,001+ boost the visibility and promote further To take the audience journey to the AUDIENCE DEMOGRAPHIC catalogue exploration of Led Zeppelin for next level, we put together the Led their 50th anniversary year. As one of Zeppelin History series: eight high-quality, AGE: 19-24, 25-34, 45-59 the most visually iconic bands of all time, one-to-two-minute animated pieces for new fans that were being retargeted AUDIENCE GENDER (M/F): 70% / 30% we centred this around their “brand” and specifically designed for Instagram. after having interacted with or listened to LOCATION: Global letting fans become part of the legacy. These were used as the destinations the band for the first time during 2019.

31 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY SG LEWIS PMR / Virgin EMI Records

Team members involved

Michaela Browne, digital manager Rory Dewar, content manager Anique Cox, product manager Grant Motion, manager Caitlin Fine, Claire Higgins, social managers, CYOA

Overview of campaign

SG Lewis’s ‘Dusk’, ‘Dark’ and ‘Dawn’ concept is a three-part musical representation of the arc of a night out. different friends to take over his Spotify 360 direct to his YouTube channel. SG Lewis catapulted into The campaign spanned over the playlist accompanied by an interview We rounded the year off by taking global superstardom off the course of a year, with each instalment content piece and an Instagram live. featured artists and media to Dans Le Noir back of a consistent stream representing a different part . It Guests included Honne and AlunaGeorge. – the restaurant in pitch black to celebrate of music, connecting directly was important this was translated clearly Ricky Thompson acted as our lead the launch of ‘Dark’, followed by the second with his fanbase. The content on announcement and it was equally influencer throughout the campaign. It instalment of the DDD mini . ‘Dawn’ narrative balanced between important this was personal to the artist. was an organic and natural narrative brought the campaign to a close, reinstating funny, light-hearted and showing his tastemaker and producer side. Sam recorded a voice note, which that the entire fanbase enjoyed watching the concept behind the project and was told The more SG-facing content that went out, the more his engagement soon turned into a lyric-style video asset evolve. He started with his famous personally by SG on YouTube. increased across all socials. Ensuring each activation had a global explaining to his fans what was to come. SG dancing video to ‘Better’ to his 4.9m We displayed SG’s evolution into approach was a massive learning curve that resulted in investing had yet to allow his fans any insight into him following, the single that bridged the gap a global artist through an interactive and focusing on larger hero activations like live streams, which have as a person or his creative process. between ‘Dusk’ and ‘Dark’. Ricky then tour microsite, a visual dictionary for become part of SG’s long term digital DNA. This led our content from the went on to add ‘Better’ and ‘Hurting’, the Instagram Stories, project mini mixes and beginning, starting with the Making Of first single from ‘Dark’ into his official the release of the vinyl boxset. Aura exclusively for IG Stories contrasting Spotify playlist whilst also discussing EDIT campaign breakdown with the ‘Dusk’ track list announcement in the tracks in his Fader interview. Ricky Results & key learnings the form of a hilarious weather report. It rounded up the campaign by attending CAMPAIGN BUDGET £15,001-£25,000 was important for SG to visually capture the sold-out show in LA and Instagram Since the launch of ‘Dusk’: AUDIENCE DEMOGRAPHIC the three different projects, in addition to covering the entire night. • Over 130m streams across ‘Dusk’, ‘Dark’ individual music videos. This birthed the The Printworks show in London in and ‘Dawn’ – and 30k tickets sold globally AGE: 14-18, 19-24, 25-34 ‘Dusk’, ‘Dark’ and ‘Dawn’ mini movies. December was the milestone of the year for • Up 30k+ YouTube subscribers AUDIENCE GENDER (M/F): Not given We then launched the official SG & SG. We discovered the potency of SG’s global • Up 10k+ Instagram followers LOCATION: UK / US Friends Spotify playlist series. SG invited fanbase so we streamed the entire show in • Up 30k+ Spotify followers

32 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY BEST USE OF INSTAGRAM LITTLE SIMZ AWAL RECORDINGS

Team members involved we put together an ambitious plan that tied throughout the campaign and was slowly press, radio, TV, synch, streaming and digital revealed a week ahead of album utilising Helen Barrass, senior director, marketing marketing together. We led with strong Instagram stickers in an innovative way. Ariel Cohen, digital marketing manager creative, consistent content, a layered ad All of this ground work led to the Aaron Bogucki, VP, marketing strategy and some marquee moments. largest spike in activity, streams and sales Paul Trueman, general manager We spent a lot of time doing the that Little Simz had up until that moment. Jen Ewbank, senior director, international groundwork at press and radio, working This gave us momentum to help sustain marketing with long lead times to get the right the campaign over the summer and for Kayode Thomas, digital content producer people onboard and build momentum on the rest of the year. It allowed us to create 2019, , BET Awards etc Robert Swerdlow, Starwood Management each release. an even larger moment around the week • Delivered an album launch concept aimed at engaging Simz’s core Little Simz wanted to create the of the Mercury Awards with new content fans (YouTube bus + London/LA Gallery launches) Overview of campaign artwork herself and this laid the basis of and a coordinated push across TV, outdoor • Ensured a strong, cohesive aesthetic ran through the marketing the strong visual that ran throughout the and digital marketing. throughout the campaign With two albums already under her campaign – starting with the digital clues • Used Instagram stickers to tease the album track-by-track for a belt, Grey Area is Little Simz’s third album to she dropped ahead of announcement to Results & key learnings week leading into release date. From the offset, we felt this was the the singles artwork she photographed • Doubled Little Simz’s socials from the start of campaign record that would gain the biggest attention herself, culminating in a massive Little • Broadened Little Simz’s audience from • Maximised Little Simz’s performance on the brand new Top Boy for her career so far, from strong critical Simz bus fan event with YouTube and niche fanbase into mainstream awareness season (and Mercury Awards) with new content reveal, daytime acclaim at press and radio, to nominations a joyous exhibition release party at • Achieved top-tier cover opportunities TV performances, a micro-targeted digital campaign and extensive for the Mercury Awards and more. Somerset House. across both print and digital publicity, and to outdoor advertising. Through this week we saw 125% sales increase We wanted the Grey Area campaign to The track listing was kept secret solidify her as on of the most exciting artists and 20K new Instagram followers. be innovative, intelligent and of 2019 • Confirmed Little Simz for a huge global FIFA 20 campaign, involving multifaceted – just like Little • Achieved radio playlists on each a Little Simz voiceover and the track ‘Offence’ Simz herself. The key objective single across BBC Radio: 6 Music, • Increased Little Simz’s Spotify monthly listeners by 240%, from 440k was not focused on chart Radio 1 & 1Xtra to 1.5m at the peak of album release placement but on building a • Critical nominations for Grey large, and most importantly, Area – Mercury’s 2019, AIM Awards diverse and deeply engaged EDIT campaign breakdown community of fans. We identified a broad range of target audiences CAMPAIGN BUDGET £25,001+ uniquely available to Simz. Our AUDIENCE DEMOGRAPHIC strategy focused on bespoke AGE: 14-18, 19-24, 25-34, 35-44 approaches to reaching these AUDIENCE GENDER (M/F): 45% / 55% people whilst maintaining LOCATION: UK, US, , Belgium, Netherlands, creative consistency. France, and Scandinavia To deliver on this objective,

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Overview of campaign outfits) – sharing to socials, signing up to clever games, ads for the album, previews of Mabel’s tour. Mabel’s messenger platform and more. TikTok ‘Mad Love’ campaign Facebook Messenger bot set up Ahead of the launch of Mabel’s follow- Bespoke AR lenses for lead singles A key initiative through the campaign has been growing Mabel’s up single to global smash ‘Don’t Call Me On both the ‘Don’t Call Me Up’ and ‘Mad comms channels, specifically our CRM, and to on-board a younger Up’, the team wanted to grow Mabel’s Love’ campaigns, the team launched the audience less attuned to email comms. We had great success presence amongst the largely youthful tracks with bespoke Snap Lenses for growing Mabel’s Messenger and using some of the unique and and female-leaning audience that we had Mabel’s audience to use and share. interesting features of the platform to engage and maintain open attracted on ‘Don’t Call Me Up’. We did The ‘Don’t Call Me Up’ lens specifically rates and interest. One initiative was to load 10 random facts about so with one of the first true end-to-end went all-out in creating a totally native which got generated to fans randomly who then TikTok campaigns to support ‘Mad Love’. experience which allowed fans to share shared their facts on socials to compare with others. 24 hours ahead of the release of the the screen with Mabel on a fake FaceTime track, we teased an exclusive 15-second call directly referencing the track and a Results & key learnings clip of the official music video on TikTok – a shareable experience that was filmed specific element from the video which would totally bespoke to create the lens. • The campaign ended up being a huge success with Mabel growing then go on to inform the #MADLOVETRAIN her audience worldwide challenge on the platform. First UK artist for a YouTube Artist • Top 3 album and two top 10 singles for ‘Mad Love’ & ‘Don’t Call On release, TikTok gave the track On The Rise campaign Me Up’. premium profile, including home page Mabel was chosen as the first UK artist • ‘Don’t Call Me Up’ is the biggest-selling single of the year by a banner support, playlist placement in UK to receive YouTube’s Artist On The Rise British female and the eighth-biggest-selling overall with over 1m hot 40 and trending tracks. The team also promotional package. Not only did Mabel get UK sales coordinated a handful of the platform’s an incredible billboard on Piccadilly Circus, • 1.6bn global streams total and driving her audience globally to new top influencers to launch the challenge a launch party at Annabel’s and massive heights. dance emulating from the support from YouTube on-platform, but • Over 250k unique videos made to Mabel’s music on TikTok official music video. we also pulled huge focus to create weekly • 81% follower growth on Instagram to 820k followers and now biweekly episodic content to • 820K subscribers on YouTube Team members involved Mabel – Build A Mabel Doll website grow Mabel’s YouTube Channel. The High In line with the data showing Mabel’s Expectations Diaries have been a hit with Radha Medhar, Holly Rose, management ever-growing younger teen audience fans and grown subscriber numbers on the EDIT campaign breakdown Stephen Hallowes, marketing across streaming consumption the team platform to follow Mabel whilst she’s been Danny Ingham, influencer marketing built a bespoke Mabel boutique website on tour with Khalid. CAMPAIGN BUDGET £25,001+ Fiona McAuley, Oliver Hunter, digital to allow fans to build their own Mabel doll AUDIENCE DEMOGRAPHIC marketing and share it across their social channels. Instagram High Expectations ‘zine Luke Ferrar, head of digital Users connected their streaming To replicate the physical ‘zine that was AGE: 0-13, 14-18, 19-24, 25-34 Paddy Mclean, head of streaming account before building dolls and then part of the D2C offering around the High AUDIENCE GENDER (M/F): Predominantly female Claire Higgins, Leila Hachani, social media can carry out an array of social and sign Expectations album – Mabel rolled out LOCATION: Global up actions to unlock further content (new an Instagram fanzine that incorporated

34 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY NSG NSG Entertainment (RCA x The Orchard)

Team members involved

Sheun Abiola & Aidan Glennon, management Whitney Asomani, RCA Mike Walmsley, RCA Lauren Fitzgerald, RCA Parris O’Loughlin-Hoste, RCA Dan Griffiths, The Orchard Brits and the band went on to perform ‘Options’ with at the “O3” [the temporary rebranding of the O2 in London during Overview of campaign his residency at the venue making reference to a line in his track ‘God’s Plan’] as well as with Future at Wireless, cementing High- East London collective ‘Options’ as a UK dance floor staple set to stick around for years. NSG teamed up with RCA – after being independent for six years – to deliver their Results & key learnings first ever platinum record with ‘Options’ feat. . NSG top of mind. • DUS: 682,000 (platinum) ‘Options’ instantly became an earworm To push the #optionschallenge to new • OCC peak position: #7 as soon as it dropped, with fans all over demographics we seeded the track out • 15 weeks in top 40 the country creating UGC from the word to YouTube “reaction video” accounts, • Total streams: 70m go. On New Year’s , one video went viral professional dance accounts, created a • Official video views: 22m (featuring two particularly enthusiastic bespoke ‘Through The Wire’- • Key social growth: girls on a night out) and it was RCA’s job to style compilation video (inspired by the • Instagram: 30,000 -> 200,000 (+566%) amplify this to the masses. artwork design), made GIPHY stickers of • Spotify followers: 16,200 -> 79,000 (+387%) In a four-step approach across each member (viewed over 10m times), • Twitter: 8,000 -> 20,000 (+150%) Instagram and TikTok where we targeted created a custom Snap lens and hosted a • TikTok: 0 -> 11.3k (N/A) low-level influencers, meme accounts, gallery of top dances on their website using publishers and finally top-tier influencers a WYNG plug-in. Digital spend was kept to post their own #optionschallenge video. agile by refreshing the content weekly with EDIT campaign breakdown The hashtag caught fire quickly and has new dances, including those of famous faces since reached 12.5m views on TikTok and from to Jimmy Carr. CAMPAIGN BUDGET £25,001+ over 10m views on Instagram. From this all-encompassing digital AUDIENCE DEMOGRAPHIC In tandem, Instagram followers shot campaign came opportunities at TV, from up from 34,000 to 200,000, aided in part the show to Trending Live, AGE: 14-18, 19-24, 25-34 by the band members’ consistent and and further performances with Vevo AUDIENCE GENDER (M/F): 57% / 43% hilarious comments on viral posts where Dscvr and 1xtra . Stars were LOCATION: 80% UK they infiltrated meme culture, keeping doing the dance on the red carpet at the

35 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY CATALOGUE CAMPAIGN OASIS IGNITION RECORDS LTD OF THE YEAR

Team members involved music for ‘Slide Away’ and invited people to record their own covers and share them John Leahy, label director, Ignition Records using the #SlideAwayChallenge hashtag. We Clare Byrne, marketing, Ignition Records made a video of the sheet music so fans Gabi Nicot-Berenger & Fortescue, could follow it and play along. We created a Results & key learnings digital marketing & socials, Ignition Records dedicated Slide Away Challenge playlist on Mansfield, creative, Ignition Records the Oasis YouTube channel and added the The results of this campaign have given us lots to build on. For Ray McCarville, international, Ignition Rec. best versions to it, which we then shared example, we saw a growth in our social following, saw a significant Marcus Russell, Alec McKinlay, Daisy across all channels. increase in our streaming, and engaged with a younger audience and Blackford, management, Ignition Mgmt. In week two, we created a super-fan quiz a new audience. Chris Latham, national press, Swell Publicity – Definitely Or Maybe – based on True Or Simon Blackmore, regional press, Black False questions. • Growth during campaign period 8th August to 6th September. Arts PR We created a four-part Oasis podcast, • Facebook reach up 233% month-on-month, post-engagement up Lorraine Long, online PR, Longevity PR Listen Up, working with podcast company 107% and page likes up 15% from previous month David Winterburn, national radio, DWPR their own memories and their stories about Cup & Nuzzle. We felt that the story around • Twitter – 5.85m impressions over the month, profile visits up 45%, Julie Barnes, regional radio, Radioactive PR the album. the making of the album had been told mentions up 150%. Top hashtags were #DefMay25, #Oasis and Claire Close, TV, CCTV We launched the campaign trailer many times before, so with the podcast we #DefMaybe – 34k impressions per day during campaign period Tom Roberts, sports, Shoot Music with the hashtag – #DefMaybe25 – as wanted to focus on the social and cultural • Instagram – additional 23k followers Bruce McKenzie, D2C, Townsend Music the hub for everyone to share their own impact of the band and the album at the • Spotify – an increase of 1.2m streams of tracks Steve Rainbow, sales & distribution, PIAS memories. We pushed the hashtag across time. It was a seminal debut album that over the campaign period and 10.1m streams across the catalogue all the official Oasis accounts on Facebook, influenced the music scene and the youth • Apple Music – average of 23% increase of streams per day during Overview of campaign Twitter, Instagram, YouTube and used this to culture around it. campaign period pull together the different online content to On anniversary week, we launched a new • YouTube – additional 36k subscribers reaching the 2m milestone For the 25th anniversary of Definitely Maybe feature on the band’s website. official Oasis GIPHY channel. We created • The album charted at #6 in a busy week of new releases – a 463% in August, we were keen to have activity We created a Facebook group called GIFs based on each track on the album uplift on the chart and increase of 50 chart places; #1 in the vinyl around the date with it being such a key Definitely Maybe: Oasis Community which and bundled them all into a story that got album chart (ahead of new releases by Del Ray and Bon Iver) landmark. As this wasn’t about releasing is a closed group so people have to request featured on the GIPHY homepage. new music, we wanted to be creative about access to become members, which give it We also worked with All On The Board how we presented the campaign as well as that extra community feel and became a who create original content for London EDIT campaign breakdown do something special and quite different to space for super-fans to connect and share. Underground on whiteboards. what had been done before. We created a schedule of assets to share They wrote a brilliant Definitely Maybe- CAMPAIGN BUDGET £15,001–£25,000 The ambition was to involve the fans every day from launch across the whole of related poem, incorporating the track titles. AUDIENCE DEMOGRAPHIC as much as possible. We were leading August including one key fan interaction at It appeared at North Greenwich station, the campaign presenting assets, utilising least once a week to keep fans engaged, give reaching a footfall of over 80k. They also did AGE: 19-24, 25-34, 35-44 original content that hadn’t been seen for them something to talk about and it helped a version for online.This also helped drive AUDIENCE GENDER (M/F): 55% / 45% quite a long time as well as creating new generate the conversations. awareness and embraced the anniversary LOCATION: Global assets – but we also wanted fans to share In the first week we shared the sheet celebration.

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Team members involved closely with both Apple and Spotify on some unique content which adhered closely to the aesthetic of the album. Tom Davies, UK project manager Angel recorded a unique content capture with Apple and their Jessica Park, US project manager creative partner Rosewood studios, evoking the feeling and Laura Sykes, Phil Waldorf, Hannah Carlen, inspiration of . She also did a interview. Robby Morris, Ali Murphy, Tom Davies, For Spotify, in addition to unique canvas videos for every song Caroline Marchildon, Libby Webster, Emily on All Mirrors, Angel recorded an interview piece for the service’s Puterbaugh – marketing/label team social media, diving into the process and experience of recording Bri Aab, Harlan Kelly, US radio All Mirrors. Greg Wells, UK radio, Ghost Listening events were held in London, , New Nathan Beazer, UK press, Dog Day Press York and elsewhere in the week leading into the release in Jessica Linker, US press, Pitch Perfect high-definition audio rooms giving fans a chance to truly hear the huge leap forward Angel had taken in songwriting and Overview of campaign production. The night prior to the release of the album, Angel performed the song ‘All Mirrors’ on US TV (for Stephen Colbert). All Mirrors, the new album from Angel The record received wild critical acclaim and achieved Angel’s Olsen, was a marked shift upwards strongest chart position to date in every key territory. from her previous albums. The scope of the album, both musically and Results & key learnings visually, was the boldest move Angel had made, incorporating luscious string took out large outdoor billboards in LA, • The album was released on 4th October and has done 15.5m track courtesy of Jherek Bischoff NY and London to advertise its imminent streams to date and some of the most beautiful yet launch. • The UK sales saw a 50% increase on the previous album and Angel’s demanding songwriting of Angel’s career. Simultaneously, all of Angel’s digital highest chart placing to date at #27. Our focus was to make the album presence was switched to this new • Globally, the record saw Angel’s highest chart placing in every announcement and campaign mirror aesthetic and a countdown to the premier territory. the cinematic scope of the music. Angel of the video was launched on Angel’s site has an extremely strong vision as to (via YouTube Premiere). Without giving how she wants to portray herself and any details of the album away, we were EDIT campaign breakdown we worked closely with her to make sure able to give fans the excitement they each aspect of the campaign adhered to might have for a forthcoming film or TV CAMPAIGN BUDGET £25,001+ this aesthetic. premiere. The following track launch for AUDIENCE DEMOGRAPHIC The announcement of the album was ‘Lark’ was launched similarly – large- critical to set the tone for the campaign. format billboards in the days prior to the AGE: 19-24, 25-34, 35-44, 45-59, 60+ A bold and beautiful video was shot (by launch with a countdown timer for the AUDIENCE GENDER (M/F): 50% / 50% Angel herself along with Ashley Connor) video, firmly placing these visuals as a LOCATION: Global for the title track from the record and we key element of the campaign. We worked

37 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY PEARL JAM Republic / Fame House

Overview of campaign

To celebrate the 10th anniversary of Pearl Jam’s ninth studio album, Backspacer, records, a limited-edition ‘Just Breathe’ seven-inch vinyl record Fame House partnered with Republic and a press proof of the original album jacket. Records to create a month-long series of exclusive content, games and giveaways Results & key learnings related to the album. To drive fans to stream the album To kick it off, Pearl Jam announced the on Spotify, Fame House created six • 17.86m impressions celebration on socials using the hashtag unique Spotify Canvas videos. The videos • 455.9k engagements Team members involved #ThrowBackspacer paired with a live featured animated versions of the iconic • 5.4k link clicks to DSPs performance of ‘Unthought Known’ from album artwork, which correlated with Alex Coslov, VP of marketing, Republic 2010. Over the course of several weeks, particular songs on the album. Records Pearl Jam shared clips from the mini- Lastly, Fame House coordinated a EDIT campaign breakdown Chris Walch, director of label catalogue, documentary The Making Of Backspacer colouring book activation by stripping on socials, as well as trivia questions the album artwork of colour, sharing a CAMPAIGN BUDGET Not given Alex Hines, senior account manager, Fame about the album. black-and-white “colouring book” version AUDIENCE DEMOGRAPHIC House Fame House coordinated the trivia of the art on Pearl Jam’s socials and Matt Mannino, account manager, Fame questions as surprise-and-delight encouraging fans to recreate their version AGE: 18-65+ House giveaways for select fans in which of the artwork. A few fans were selected AUDIENCE GENDER (M/F): 59% / 41% Allie Cohen, digital marketer, Fame House they received an original Backspacer as surprise-and-delight winners to LOCATION: Global Tim Bierman, Sarah Seiler, Pearl Jam promotional poster. receive three seven-inch ‘The Fixer’ vinyl

38 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY BEST USE OF REGARD MINISTRY OF SOUND TIKTOK

Team members involved #2 and is currently certified gold – and Lottie Llewellyn, marketing we expect it to go manager platinum by the Negla Abdela and Louise end of the year. Higgins, digital marketing The single has also Amy Wheatley, general manager reached the top 10 in Jason Warner, international Ireland and Australia marketing and is climbing in Hajriz Bajrami and Oscar Scivier, other territories. artist management were mirrored by local teams • To date, ‘Ride It’ has who worked with their editorial amassed over 171m Overview of campaign counterparts to secure in-app global streams (as promotion. of November 2019) At the height of the summer, we We supported the track and is still growing released Regard’s single ‘Ride It’, with a traditional digital globally. a rework of Jay Sean’s classic RnB anthem marketing campaign across all social media • Across TikTok over first released in 2008. platforms to connect the dots between the 5m videos have been The track was already popular on TikTok, TikTok viral hit and the wider audience. created using the with over 1m video views after a user We also created a lyric video that was track and with over 250m combined views. uploaded a 20-second clip of the bootleg made up of the TikTok users who were early • At radio, ‘Ride It was added to the A-list across Capital FM, Radio 1, version – but it hadn’t broken out much supporters of the track and were the first Kiss FM, the Bauer Network, and the Lincs Group. further than that. We launched with a pre- to create dance videos for it. As the bootleg • Off the back of a successful campaign and chart topping sales, save campaign to let TikTok fans know the was shared far and wide on YouTube, we Regard has been confirmed to perform the single for the very first official release was imminent before making videos being produced which created a new reached out to all the channel owners time at Capital FM’s . the single available on all DSPs for the first organic challenge using the – at the time – and asked them to add the official single time to fans. newly launched caption sticker effect. We streaming links to their descriptions and On launch we secured editorial support had uploads from lots of big creators as well add end cards to direct viewers to our official EDIT campaign breakdown from TikTok with a trending hashtag as other high-profile names, including Lewis content. campaign and the track’s inclusion in their Capaldi. As well as this we created a host Summer Challenge. The promotion ran We also connected with influencers of additional video content including CAMPAIGN BUDGET £25,001+ for six days and was featured in the UK, on the app through a series of paid and choreography/dance videos and filming an AUDIENCE DEMOGRAPHIC Germany and US and included a trending organic collaborations which lead to a third acoustic version of the track with Jay Sean. AGE: 14-18, 19-24, 25-34 shelf in the discovery page as well as a home trending campaign being launched using AUDIENCE GENDER (M/F): 60% / 40% page banner. #RideItChallenge which ran across the UK, Results & key learnings LOCATION: UK & Ireland, US, Germany, France and Creators on the platform were quick to the US, Germany and Russia. All of our Denmark and Australia adopt the track again with a lots of new TikTok campaigns ran internationally and • The single peaked in the UK charts at

39 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY THE ROLLING STONES Universal Music Enterprises / Polydor

Working with the Rolling Stones and That night at the in front of a sold-out stadium, Robert NASA/JPL, we landed (no pun intended) announced to the world that NASA named a rock on Mars after the on making the announcement live at the band and revealed the NASA video on the on-stage screens. band’s 22nd August Rose Bowl show , Keith Richards, Charlie Watts and were in front of 60,000 fans. We collectively delighted with the news and commented, “What a wonderful way decided that having a special guest not to celebrate the Stones No Filter tour arriving in Pasadena. This is only make the announcement but kick definitely a milestone in our long and eventful history. A huge thank things off with a social media tease would you to everyone at NASA for making it happen.” help kick off the campaign, working with “The name Rolling Stones Rock is a perfect fit,” said Lori Glaze, the Rolling Stones and NASA’s socials to director of NASA’s Planetary Science Division in . “Part of create a ton of buzz. NASA’s charter is to share our work with different audiences. When Team members involved Earth. Now, the band’s influence extends The special guest was Robert Downey we found out the Stones would be in Pasadena, honouring them to Mars. The team behind Jr On the morning of the 22nd August, seemed like a fun way to reach fans all over the world.” Doug Barasch, senior director interactive NASA’s InSight lander has named a Robert launched a social media teaser Robert Downey Jr made the announcement 22nd August at marketing, UMe Martian rock after the band – Rolling across his socials that the Rolling Stones Pasadena’s Rose Bowl Stadium before the iconic band took the Orla Lee-Fisher, SVP marketing, UMGI Stones Rock. and NASA/JPL engaged with sparking stage. Backstage before making the announcement, Downey Victoria Fonfe, head of marketing, UMUK The global campaign began when wide speculation as to what was going said, “Cross-pollinating science and a legendary is Sujata Murthy, SVP publicity, UMe NASA/JPL informed us that when their to occur at the Rose Bowl. The NASA always a good thing…” Jeremy Sponder, senior director marketing, Insight Lander landed on Mars it moved a team created an ingenious animated video UMe rock. We collectively decided to name charting the Insight Lander’s journey Results & key learnings Tim Plumley, director of publicity it after the Rolling Stones. Now from launch to Mars landing and Sarah Dando, social media, Rolling Stones how to announce it? moving the rock. The campaign grew the Rolling Stones’ social media audience Bernard Doherty, Rolling Stones PR/CEO, LD on Instagram and Twitter by over 300% including over 20,000 Communications new Instagram followers. The campaign also spiked streaming Alexandra Sutton, Rolling Stones PR/director consumption in the days after the announcement by over 90%. of publicity, LD Communications Laurie Cantillo, deputy director, NASA/JPL Bert Ulrich, liaison multimedia NASA film and TV collaborations EDIT campaign breakdown James Rich, social media, Team Downey Olivia Pepper, social media, Team Downey CAMPAIGN BUDGET £5,001–£10,000 Kevin Ford, social media, Team Downey AUDIENCE DEMOGRAPHIC Overview of campaign AGE: 14-18, 19-24, 25-34, 35-44, 45-59, 60+ AUDIENCE GENDER (M/F): Not given For decades, the music of The Rolling LOCATION: Global Stones has had a global reach here on

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SANDBOX 2019 SURVEY BEST USE OF MARK RONSON COLUMBIA RECORDS AR

Team members involved We also cut bespoke who sent in their own mixtapes and voted on versions of the trailer for each other’s entries to find the ultimate . Sim Rollison, senior digital marketing each of the 10 featured For the release weekend, we constructed a huge interactive manager artists to share on their version of the made up of 1,200 small mirrors on a Olly Rice, head of marketing own channels. site in Shoreditch (London). Mark wrote his advice to the broken Caitlin Fine, senior audience development Club Heartbreak was hearted on one of the mirrors and invited fans to do the same over manager a club night that Mark the course of three days where it remained as a public art piece. Jonathan Farmer, marketing assistant created in conjunction Adam Cardew, VP, podcasting & creative campaign, both in with the album. We worked with Apple Results & key learnings strategy terms of marketing Music to host a regularly updated Mike O’Keefe, VP, creative and creative. exclusive playlist, collaborated on limited- The ‘Pieces Of Us’ video saw a view-through rate on Instagram that The broken heart-shaped ball edition merchandise drops and hosted was significantly better than the YouTube equivalent, justifying the Overview of campaign that features on the album artwork was three nights in London with , non-traditional approach. It was covered widely in the music press present at all the live events and TV and performing, all of but also in style (GQ) and trade (Fast Company). It also won gold was an album about appearances. We used it to shoot the which centred around the disco ball from at the Lovie Awards for Best Use of Stories. The interactive album heartbreak and finding solutions to it. album trailer and social ads, keeping the the artwork. cover in Shoreditch was hugely popular with hundreds of fans and That was the theme running through our visuals consistent across the campaign. The video for ‘Pieces Of Us’ with members of the general public writing on it, taking photos and was a collaboration with posting about it over the course of three days. The piece was made Instagram. In a world first, the interactive up of 1,200 mirrors, which we had to replace each day as it filled up. music video was released over several From an advertising standpoint, the dwell time was 2-10 minutes, a days and the first to use Instagram’s new huge increase on any digital or traditional OOH advert. augmented reality platform, SparkAR. The mixtape exchange involved , King Princess, The first version was released via both Lykke Li and YEBBA as well as the Independent, Another Man and artists’ IG Stories and used questions and . Each mixtape was posted to those respective polls to involve fans in real-time as it was audiences, spreading the word about the album, bringing in website being released. The second version was traffic and new followers for Mark. released a day later and included videos from fans themselves using the four AR filters specifically designed for the video. EDIT campaign breakdown A third version then went live on Mark’s IGTV the following week. CAMPAIGN BUDGET £25,001+ The Late Night Feelings Mixtape AUDIENCE DEMOGRAPHIC Exchange was a Spotify-specific activation that had Mark trading mixtapes AGE: 19-24, 25-34, 35-44, 45-59 (playlists) of “sad bangers” with the AUDIENCE GENDER (M/F): 50% / 50% album collaborators as well as various LOCATION: Global publications. We later opened it up to fans

41 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY RICK ROSS COLUMBIA RECORDS

Team members involved

Nick Parry, digital campaign manager, Columbia Records UK Joel Quartey, marketing manager, Columbia going around the new record. Rick Ross encouraged fans to play, Records UK posting out the game link to his 8.5m Facebook fans and 10.5m Rianne Gordon, marketing assistant, Instagram followers. Columbia Records UK Terence Summerbell, digital producer, Sony Results & key learnings Music UK 4th Floor Creative Dorothy Hui, VP, digital, Sony Music UK The game sparked a fantastic response on Rick Ross’s socials when Cara Hamment, business director, PHANTOM posted out. The social posts were viewed over 80k times, generating thousands of positive reactions and likes, as well as hundreds of Overview of campaign excited comments and shares. In its first two weeks after launch, the game had over 3k To tie in with the release of Rick Ross’s unique users, registering highest with 18-24-year-olds (27%) and 10th studio album, Port Of 2, we 25-34-year-olds (33%). In its first week, the game had a 50% retention launched an innovative and exciting rate, indicating that fans who were playing were engaged and Facebook Instant Game. The aim was remaining on the platform. The in-game leaderboard shows the Top to create awareness around the album 200 scores, all of which require significant gameplay time to register release and offer fans a fun and original – the lowest being 15,000 points and the highest being 77,000 points. way to inhabit the world of the rapper Port Of Miami 2: Born To Drive has since won a 2019 Lovie Award. whilst enjoying music from the album. It was nominated in two categories. It won the People’s Choice award Port Of Miami 2: Born To Drive Facebook (publicly voted) in the Branded Game Or Application category and Instant Game was conceptualised by was a silver winner (editorially picked) in the Best Use Of Messaging Columbia UK, Sony Music UK’s 4th Floor and chicken wings to successfully reach leaderboard, aided by invincibility and & Bots category. Creative and London-based digital the next level. The game is available via time bonuses, speed boosts as well as creative agency PHANTOM to give fans Facebook’s recently launched Games tab, extra points. a taste of what it might be like to cruise which is easily accessible on both the As a leading , we’re always EDIT campaign breakdown around Rick Ross’s native Miami. Facebook and Messenger apps. looking for new ways to enhance how An untapped way of offering fans a Soundtracked by the new album Port fans experience music. Port Of Miami 2: CAMPAIGN BUDGET £5,001–£10,000 new music experience, Port Of Miami 2: Of Miami 2 with in-game billboards Born To Drive is a simple but fun way of AUDIENCE DEMOGRAPHIC Born To Drive lets players race against promoting the record, each stage of the adding another dimension to Ross’s latest the clock in Rick Ross’s low-rider. Cruising game is more difficult than the last as the album by experimenting with a different AGE: 19-24, 25-34 through Miami’s beautiful beaches, car goes faster and faster while rush hour way to engage fans on socials. The game AUDIENCE GENDER (M/F): 70% / 30% bustling ports and downtown streets, traffic swells. Players can prove who’s was launched in the weeks following the LOCATION: Global players must cop gold chains, Rolexes The Boss by rising through the worldwide album release to keep the conversion

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Team members involved

Cameron Reed, director of marketing, Arts & Crafts Peter Carruthers, marketing coordinator, Arts & Crafts Ian Porter, technical and digital design/ development Tyler Bancroft, manager/bandleader Results & key learnings Overview of campaign • Album charted #1 on the Canadian Alternative Albums For the release of Said The Whale’s Chart on release week sixth studio album, Cascadia, Arts & • Lead single charted top 5 at Canadian Alternative/Modern Crafts created a series of assets and Rock Radio, #1 on CBC Radio 3 Top 30 chart and #2 on the fan engagement tools all based on the Earshot Canadian College Chart premise of Discover Cascadia (Cascadia • Video for ‘UnAmerican’ won the Prism Prize for video of the being the name of a proposed new year and Western Canadian for best video. country consisting of parts British • ‘UnAmerican’ video went viral with over 200,000 views in Columbia, Washington State, Oregon and 24 hours, driven by Reddit California). way. We also partnered with the band to Thousands of emails and phone numbers collected from the band’s We created a microsite at create an extensive merchandise suite that most engaged fans discovercascadia.com which resembled tied in with the Cascadia theme – including • 2m streams in alone a classic tourism website from a city flags, pins and iron-on flag patches. • 10-piece vinyl LPs contested in city-wide scavenger hunt in or province/state. The site was meant Our goal was to present the album in a to tease out and excite the band’s core way that was true to the spirit and ethos fanbase and spur online conversation. of the band while super-serving their The site linked out to a VOIP-based biggest fans. This resulted in thousands hotline using a browser and mobile-based This was accompanied by a playlisting of visits to the microsite, hundreds of EDIT campaign breakdown service. Fans were encouraged to text and app leveraging Spotify’s public API which voicemails left by fans, hundreds of call the hotline which featured previews promoted not only Said The Whale but emails, phone numbers and names CAMPAIGN BUDGET £25,001+ of the album’s songs as well as other other artists from around the Cascadia collected and deep fan engagement which AUDIENCE DEMOGRAPHIC information about the Cascadia bio-region bio-region. led to the album debuting at #1 on the at large and the story behind each of the All aspects of the campaign worked Canadian Alternative Albums chart. The AGE: 14-18, 19-24, 25-34, 35-44 album’s songs. together and fed into each other, creating an band’s lead single, ‘UnAmerican’, also AUDIENCE GENDER (M/F): 50% / 50% -over was done by Canadian immersive multi-platform experience that reached top 5 at Canadian Alternative LOCATION: Canada radio/TV personality . told the story of the album in an organic radio.

43 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY BEST USE OF GEOLOCATION SKEPTA / The Orchard

Team members involved conversions enabling us to track actual sales rather than just clicks. The Orchard Skepta teamed up with Music Dan Griffiths, senior director, digital mark. to recreate the thermographic album James Moodie, director, artist marketing art in real time at street level. Diabolical Anette Collins, director, international artist provided the technology for fans to map services themselves onto a billboard sized screen Joe Andrews, senior director, international for 12 hours right outside Shoreditch High sales & marketing Street station in London. Skepta and his campaign. To harness this, he teamed up with YouTube Music to Joe Osborne, senior label manager brother came down to try it out for do a live streamed Q&A from their space in St Pancras. Hosted Peter Lum, interactive designer themselves, too! by Tiffany Calver, the 30-minute Q&A covered all topics from Jonathan Ellis, interactive designer Spotify threw a launch event for friends, collaborators, fatherhood and his plans for the future. Airene Resurreccion, associate art director family and some of Skepta’s biggest fans. Other team members Taking over White Rabbit, Spotify kindly Results & key learnings Sam Burton, Grace Ladoja, management One of the main activations that branded the whole room around the album Manu Pillai, art director Skepta wanted was a live global creative, themed drinks, DJs and a branded • Skepta’s highest-charting record, landing at #2 on the Official Tsvetelina Tomova, project manager streaming map that fans could access via photobooth. Skepta also performed a Album Chart in the UK Mike Baldo, Wayward Creative his website. Although similar maps had surprise set comprising of album cuts. • The first time thermographic technology has been used on a been built by the services to house within Skepta was happy to discuss more billboard in a public space Overview of campaign their own platforms, this was the first than usual about the album and the • 143m+ streams across Spotify and Apple Music time an artist has shared this information ride he had since Konnichiwa on this • 12m+ YouTube video views across official videos For the release of Skepta’s Ignorance Is publicly across multiple services and • ‘Complete’ Spotify playlist created and built up to 24,000+ followers Bliss, The Orchard had only six weeks to housed in the same place. Skepta then • 200,000+ views of Skepta’s website and the global streaming map create a global campaign. Skepta and his encouraged fans to stream the record to since launch management team had a very strong vision see how the map reacted. • 140,000 clicks to purchase through digital advertising that was run of the aesthetics for the record and it was The Orchard partnered with Wayward in-house The Orchard’s job to help amplify this. Creative to build the map using The In order to heighten anticipation for Orchard’s Analytics Team and internal the album’s release, a short 15-second dashboards to work out a solution to EDIT campaign breakdown teaser video was made featuring a looped input data into the map. Over the course intro of the then-unreleased track ‘Grease of several weeks the map was optimised CAMPAIGN BUDGET £15,001–£25,000 Mode’. This was the first taste of new to ensure it loaded at slow speeds and AUDIENCE DEMOGRAPHIC material that fans would hear and was across mobile and desktop. served against engagement audiences for Once the album was announced AGE: 14-18, 19-24, 25-34, 35-44 Skepta across Facebook and Instagram sales were driven via a multi retailer link AUDIENCE GENDER (M/F): Not given and to anyone who had watched Skepta’s and Skepta’s D2C store. Using Skepta’s LOCATION: Global videos historically on YouTube. store allowed us to optimise for custom

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Launching with a video from guitarist testing his own mask, fans were able to fire up the lens on their mobile phones and take photos and videos whilst wearing one of the masks with ‘’ playing in the background. Throughout this whole album campaign, we wanted to be innovative and let the world know that Slipknot are back, driving the album message of . For this specifically, we re-engaged the existing fanbase (25-34) and exposed them to new technology such as AR and we were able to bring in new fans from a younger demographic (18-24).

Results & key learnings

The post reached 8.2m users, with 887k engaging with the lens. 342k users captured a photo or video with 33k sharing to their own Facebook news feed. The top engaging markets were Mexico, US, UK, Spain and the Philippines, showing strong global exposure for the band. This campaign drove 8,000 new page Team members involved likes to the band’s Facebook page. The press pick up on this lens was fantastic with coverage from Kerrang!, Metal Hammer, James Booth, digital, global marketing, WMG Revolver, Loudwire, NME, Billboard, Rolling Stone and more. Paris Montoya, director, Roadrunner US Following the launch of Instagram lenses, we were able to launch Francesca Gaymor, Firepit Technology this onto the band’s profile which picked up 859k impressions and 5B Artist Management 26k captures in the first week.

Overview of campaign

One week before the release of EDIT campaign breakdown Slipknot’s sixth studio album, We Are Not Your Kind, WMG’s global CAMPAIGN BUDGET £10,001–£15,000 marketing arm and Roadrunner US teamed up with Firepit Tech to develop AUDIENCE DEMOGRAPHIC 10 masks for Facebook camera AGE: 19-24 consisting of each of the nine band AUDIENCE GENDER (M/F): Core audience male but members and one bonus mask based campaign is skewed for both on a hooded figure from the ‘Unsainted’ LOCATION: Global music video.

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that the standard track or more traditional remixes or acoustics would, but it definitely helped broaden our audience and therefore gave us a peak in monthly listeners on Spotify in particular. It’s definitely something we would love to explore for future releases if appropriate. • The track has so far had 2m streams across DSPs • After release, Sam peaked on global monthly listeners on Spotify for this single with 42.6m / #11 globally. • The track has so far had 848k total listens so far within the Calm app • Listened to a total of 7.58m minutes so far within the Calm app • 665k social impressions via the Calm platforms

it was an A&R exercise. The Sleep version Team members involved broadened the reach and awareness of the track in the same way a more traditional Maddy Smith, head of digital, Capitol Records remix would, but also tied in thematically Tom Paul, marketing director, Capitol Records due to the name of the single. Claire Higgins, socials, CYOA We also approached meditation app global database of 19m users. We Courtney Phillips, head of music, Calm Calm to explore featuring the new version simultaneously uploaded a “slow in a partnership hailed by Scooter Braun TV”-style video of the track to Sam’s Overview of campaign as “genius”. Sam is a long-time user of the YouTube channel as well as pitched EDIT campaign breakdown app, so not only did it feel like a perfect fit for editorial support from DSPs, which To coincide with the release of Sam sonically, it also made sense for them as an included additions to the Peaceful Beats CAMPAIGN BUDGET £1,001–£2,000 Smith’s latest single, ‘How Do You Sleep?’, artist to align themselves with the app. playlist on Apple Music amongst others. AUDIENCE DEMOGRAPHIC we commissioned a special peaceful Calm featured the track prominently remix aimed at capturing the ambient/ as an hour-long audio loop, in app on Results & key learnings AGE: 14-18, 19-24, 25-34, 35-44, 45-59 sleep playlist market that has grown in its homepage globally as well as within AUDIENCE GENDER (M/F): Not given popularity on DSPs in recent years. The the Music section. It also offered global • Delivering alternative versions of tracks LOCATION: Global (focus on UK / US) remix was as much of a marketing idea as social support as well as emailing its may not result in the quantity of streams

46 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY SPICE GIRLS Modest! Management / UMC / CYOA

Team members involved specific to each tour date, and launched a Twitter hashflag emoji. We delivered a series of Spotify Canvases using the new 4K video Louise Healey, senior digital marketing footage and worked with Apple to create a special Spice Girls “room”, manager, Modest! Management which was featured prominently on the main page. The room hosted Rosie Deane, manager, Modest! all the Spice Girls’ albums, playlists, solo material and an editorial Management piece following an interview with the band. Claire Higgins, director, CYOA Elton, senior account manager, CYOA Results & key learnings Toni Tuesday, audience development manager, UMC • The combined views across the launch asset on all platforms Hannah Chadwick, marketing manager, UMC reached over 10m in launch week Robin Jenkins, senior A&R manager, UMC • We sold 700,000 tickets Bradley Steptoe, video A&R manager, UMC • The TikTok challenges resulted in 67m views and 36,000 videos created Overview of campaign • We launched an OAC on YouTube which saw a combined 500,000 subscribers, which grew by 150,000 with pre-tour content The Spice Girls going on tour was always • Delivering new 4k/HD videos saw an impressive boost to views. going to make headline news, but we We saw a 72% increase in views of ‘’ (April to August) and a wanted to ensure this felt like a modern 112% increase of ‘Holler’ celebration of Girl Power. The first step was • The TikTok challenges results in 67m views and 36,000 videos bringing the band into the digital space. The beginning of 2019 was all about HD and, in a world first, replaced these videos created We brought CYOA on to help launch the growing socials and the CRM database. We “in line” to retain views and comments. We • Global streams were up 50% month-on-month (as of June 17th) Spice Girls’ socials on the day of the tour chose key calendar events which were in dropped two videos weekly for seven weeks • An increase of 319% in daily streams in May/June versus the announcement and used a spoof content line with the Spice Girls’ principals, such as to re-engage the YouTube fanbase and keep month prior on Apple Music piece shot with the band. We cross-posted International Women’s Day, the BRITs and regular content dropping ahead of tour. • UK daily streams during the tour period were 216% above the daily the asset from the Spice Girls’ Facebook Mother’s Day to launch competitions, share Due to hectic rehearsal schedules, average versus the month prior on Spotify page with the individual members pages, Spotify playlists and create one-off quote we knew time with the band would key media and fan pages to ensure card assets. be restricted, so we wanted to explore maximum exposure. We launched a GIPHY channel, using alternative ways to help tell the story of the EDIT campaign breakdown The biggest challenge in keeping up weekday and mood triggers to ensure Spice World Tour. We filmed interviews with momentum ahead of on-sale was the lack relevancy to audiences. We worked with key members of the creative Spice Girls tour CAMPAIGN BUDGET Not given of new content. CYOA created an eight-tile Pretty Good Digital to launch a brand- team, as well as filming dance tutorials with AUDIENCE DEMOGRAPHIC collage on Instagram featuring some of the new website and created a CRM strategy, the Spice dancers. highlights of the Spice Girls’ 25-year history ensuring first looks of all content went to The week the tour started, we had a AGE: 14-18, 19-24, 25-34, 35-44 and we accessed UMC archive footage for those on the database to drive signups. world-first activation with TikTok which AUDIENCE GENDER (M/F): 40% / 60% teaser assets so fans could be reminded of We worked closely with UMC to upgrade saw global promotion of two Spice Girls LOCATION: Global (but tour was UK/Ireland) the Spice Girls’ incredible history. all the existing Spice Girls videos into 4k & challenges. We launched Instagram stickers,

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Team members involved was live-streamed on YouTube with millions of fans tuning in globally. Fans also got the chance to ask the band questions live The full team at SM Town on YouTube the night before. Rodriguez Dominique, director, SM Town USA Results & key learnings Dan Hairston, project manager, Capitol • The album hit #1 on the Billboard charts in the US, the first-ever Leslie Cooper, VP of marketing, debut K-pop album to do so Capitol • Sales were supercharged by physical with 168k equivalent albums James Quinn, director, Beautiful sold in the first week Digital • Social numbers enjoyed uninterrupted growth over this period; Arianne Ahimsa, account the band have built up 2.3m followers on Instagram in under three manager, Beautiful Digital months Adriana Tapia, account manager, • A key learning for us Beautiful Digital was the quality and breadth of content Overview of campaign coming out of Korea and how popular that proved SuperM triumphantly launched on social platforms in October with the first-ever • The pristine debut K-pop album to hit #1 in photoshoots, BTS the US. However, managing the content, unboxing videos digital presence of the band and interviews set an presented several challenges. fans were encouraged to put all incredibly high standard Integrating a global team versions together to form the for social content which spanning three continents, SuperM logo and post on social we had to step up to rival factions breaking out media with a custom hashtag. amongst the fanbase and in K-pop is incredible and the band’s There are AR T-shirts, face meeting the sky-high expectations for management SM Town did a fantastic job masks, sticker packs and patch sets. Flash EDIT campaign breakdown K-pop’s biggest supergroup to name a of capturing each band member to create discounts on digital stores were promoted few. a striking feed on Instagram. The concept with slick animations. A partnership with CAMPAIGN BUDGET £25,001+ The campaign kicked off long before of The Avengers Of K-pop was launched Marvel offered further exclusive items. AUDIENCE DEMOGRAPHIC any music was released. Hype and to bring rival band factions together. As release day approached, Capitol tension were cultivated through the drip The quality of the products in K-pop unfurled an enormous roll-out. A AGE: 0-13, 14-18, 19-24 release of beautiful advertorial-level is also next level. The record has seven Coachella-like stage was erected outside AUDIENCE GENDER (M/F): 20% / 80% photos and film content of the band. The versions, each cover with the face of a the Capitol Tower in Hollywood where LOCATION: US / Latin America / Europe / standard of photography and videography different band member. On release day, the music was finally revealed. The event

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SANDBOX 2019 SURVEY BEST USE OF SPOTIFY THE 1975 Polydor Records / Dirty Hit CANVAS

Team members involved boundaries, taking risks and embracing new technology to reach and engage an ever-more Jamie Oborne, management/A&R dedicated fanbase for one of the most exciting bands in the Ed Blow, Ali Tant, marketing world. Oliver Hunter, Jack Caldwell, Ed Juniper, digital marketing Results & key learnings Paddy Mclean, Perdi Higgs, streaming Ben Ditto, creative director • Through the countdown period we drove over 180k landing page Samuel Burgess-Johnson, creative views to our Spotify pre-save Susie Ember, Naomi Williams, press • To date this has driven over 23,000 pre-saves & 1,200 pre-adds Natalie Jennings, radio (from the landing page; full data from Apple we don’t have) • Additional 20,583 names added to The 1975 mailing list (now at Overview of campaign 291,000 subscribers) • Video reached #3 global trending on YouTube. After a now famous 24-hour social media • The video delivered the highest 24-hour view count of any The 1975 blackout to mark the start of a new The new creative also rolled out across We also embraced TikTok, with the video to date campaign, The 1975 dropped the opening the full catalogue of The 1975 as Spotify band account going live and the track was • 13% growth in consumption for both streams and listeners through track from their fourth album, Notes On Canvases – manually updated daily with posted by the growing scene of influential the countdown period compared to the previous 30 days reaching A Conditional Form, titled ‘The 1975’ – an the new video creative and distortion. alternative e-boys and e-girls. TikTok 8.55m global listeners piece accompanied by a The first time the band had ever used then used ‘People’ as the lead track for its • On the launch of the countdown and The 1975 track total streams rallying speech on the climate crisis by the Canvas format. These also rolled out #rocktober initiative – with the song as hit 3.56m the highest daily stream count Greta Thunberg. This was accompanied across Instagram Stories, YouTube Stories default on a global AR “crowd surfing” effect. • 25% global growth in catalogue streams for the week of release and by a lyric video (formatted to square) (the first time the band had used this To sustain interest on the track we 45% UK growth uploaded to the band’s YouTube channel. feature) and Twitter. uploaded three music videos to YouTube • 6% social growth for both The 1975 and TrumanBlack (lead This moment also launched the 30-day All traffic from the swipe up and for the campaign, with both the vertical singer Matt Healy) accounts – adding 170k to The 1975 and 78k to countdown to ‘People’. website was directed to a bespoke Spotify video and the exclusive lyric video taken TrumanBlack The band’s website lead the launch pre-save and Apple pre-add landing page from the live show and the video screens with a new creative including electric and mailing list sign-up. dropping through September/October. yellow and black side bar and logos, with Two days out from release, we opened Our digital media plan then also reflected EDIT campaign breakdown the website content an internet stock the YouTube Premiere window for the the countdown with yellow GIF banners video clip of natural environmental beauty official video for ‘People’. Using custom running as YouTube bumpers and as CAMPAIGN BUDGET £25,001+ which updated every day. The responsive countdown thumbnails with the yellow display ads across website AUDIENCE DEMOGRAPHIC website allowed fans to move their mouse design to echo the wider campaign and programmatically for the five days into over the video and distort the image. disguise the imagery of the video ahead release to drive the critical mass to new AGE: 14-18, 19-24, 25-34 Each day with a new video the distortion of release. Matty from the band also audiences beyond the core fanbase. AUDIENCE GENDER (M/F): 40% / 60% effect increased – reflecting the impact of joined the YouTube chat for the first time, A totally cross-platform and global- LOCATION: Global human interaction with nature. causing fan hysteria. reaching campaign, pushing creative

49 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY TWO DOOR CINEMA CLUB Prolifica Inc / PIAS

Team members involved fake eBay and Reddit ads, from fake accounts offering the extinguisher for sale, we gained Sean Sprey, head of marketing, a huge reaction from this, getting shout outs on radio news Prolifica Inc. alerts including Radio 1 and we saw tabloid pick up about the Alison Lamb, marketing manager missing item. and day-to-day manager, Prolifica On chart day, the band were co-headlining the Other Stage at Inc. Glastonbury. We set up fake weather reports on the screens on Colin Schaverien, band manager, the motorways leading into Somerset saying that the weather for Prolifica the festival was going to be torrential… with a “false alarm” screen Stefano Anselmetti, band manager, with the band’s logo flashing up to let festival goers know it was Prolifica just another ruse and there wasn’t really any cause for concern! Vincent Fenice & Anne Mueller, international marketing, PIAS Inspired by the title of the Results & key learnings Craig Penney & Stuart Davie, UK second single into the album marketing, PIAS push to set off the smoke. release, ‘Satellite’, we launched • #5 UK chart position. Tom Davenport & Alex Booth, digital To ensure we had a full worldwide the album cover into space via the help of • Increase of 131k followers on Spotify from the launch of ‘Talk’ marketing, DMS campaign, we worked with the Landmrk a company in Sheffield. The album cover through to album release. app to additionally position augmented was placed in a space balloon and shot • The global awareness was driven throughout the campaign by Overview of campaign reality billboards. These were placed into space. On album announcement the strong creative initiatives and aesthetic which rolled out across around the globe in far-flung places day we went live on Facebook, with the all social platforms and connected with the fanbase on a whole The initial campaign began back in March. where we saw pockets of fans of the band providing a commentary on the new level. This helped underpin the band and cemented them as a Building from the striking Aleksandra band via Spotify and Facebook. When launch, announcing the album details and market leader for alternative music globally. Kingo imagery of the band on a fire fans interacted with these billboards answering questions from fans. • We had a 33% increase on Instagram followers over the campaign extinguisher, we launched a series of they were taken to a message from month out from the album release which continues to grow consistently day-by-day. The main bulk of billboards in capital cities around the band telling them to stay tuned for more we launched a pre-save initiative with our active fanbase sits on this platform so this was a great result World – in particular previous key markets information coming soon as well as the Show.co to drive fans to pre-save False and showed that our social initiatives reached a wider audience. for the band, including Berlin, Paris, chance to enter a competition to win new Alarm on DSPs. The competition offered , and New York. merchandise. There were 20,000 user the chance for two fans to fly out to NYC We also worked with Diabolical to interactions on Landmrk. to see the band perform live. EDIT campaign breakdown build an interactive billboard which we Leading us into the first piece of new Leading into release week we launched positioned in Shoreditch (London). The music, ‘Talk’, we branded a red phone a PR stunt using one of the band’s stage CAMPAIGN BUDGET £15,001–£25,000 large-scale interactive billboard included box on Brighton pier. Leading with a new props – a giant inflatable fire extinguisher. AUDIENCE DEMOGRAPHIC a real working gas canister which shot image from the Kingo shoot of the band Phase 1 saw us announce via the band’s smoke out of the extinguisher. wrapped in an old-fashioned phone wire, socials that the extinguisher had been AGE: 14-18, 19-24, 25-34 The smoke was triggered by a large we placed a dummy phone in the box. stolen from the band’s lockup and asked AUDIENCE GENDER (M/F): 45% / 55% red button branded with the Two Door When picked up, the phone played fans a fans to keep an eye out in case they LOCATION: UK, US, France, Mexico, GAS, Australia Cinema Club logo which passers-by could loop of ‘Talk’. came across it. Following this we created

50 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY UBBI DUBBI Disco Donnie Presents / Fame House

Team members involved Fame House grew the fan community by elaborating on the Ubbi & Dubbi dichotomy, creating two teams: #TeamUbbi Fame House represented fans of house and techno; and #TeamDubbi Matt Mannino, account manager represented fans of and trap. Devon Fielding, digital marketer A contest was launched in which fans could post either team’s Adam Rappoport, director of accounts and hashtag for a chance to win a free ticket to the festival. Once business development fans were familiar with the sides, additional content was created Peyton Lamkins, Paid Media Marketer, catering to each team, such as unique Spotify playlists. The DDP Fame House team also produced plush toys and figurines of each character, Donnie Estopinal, Michele Servais, Evan which were available for purchase when buying a ticket. Bailey, Parker Clark, Disco Donnie Presents Lastly, Fame House placed a large focus on creating memes centred around culture, which helped drive fan Overview of campaign engagement and overall follower growth. Despite this being a first-time festival, the humorous, EDM-related content helped Ubbi Dubbi began with just a name and fans of the genre engage and identify closely with the festival. By an image of two small characters. From introducing a narrative that resonated with the community, the there, Fame House assisted in developing festival was able to have massive success in its first year. a fictional narrative centred around these characters having different electronic Results & key learnings sub-genre preferences. The branding, paired with a strong lineup and creative • Sold-out festival approach to festival marketing, led to this • 27,000 social followers gained first-time festival selling out. • 11,000,000 impressions The Ubbi Dubbi social accounts started • 650,000 engagements from scratch with zero followers. Fame • 12,000 mentions from fans and artists House leveraged key marketing moments • 30+ artists engaging with the brand such as the lineup announcements to quickly build an audience. Phase 1 of the lineup was teased by EDIT campaign breakdown pairing a cryptic clue with an image related to one of the top artists on the lineup. CAMPAIGN BUDGET Not given Phase 2 was teased by creating a AUDIENCE DEMOGRAPHIC crossword puzzle that featured hints related to various artists on the lineup. AGE: 18-34 Disco Donnie rewarded the first person AUDIENCE GENDER (M/F): 50% / 50% to correctly finish the puzzle with a free LOCATION: US ticket to the festival.

51 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY SHARON VAN ETTEN JAGJAGUWAR

adult artist (rather than an indie-genre artist). Our focus of assets around the track ‘Seventeen’ – the key promo video for the campaign, strong US TV performances, session performances, plus a duet of the track with recorded for Amazon helped us to position Sharon correctly. She also performed with Jeff Goldblum at a number innovative elements. We built Glastonbury and on his new record. a multi-platform calendar through which fans could subscribe and be the first to Results & key learnings get news on Sharon’s tour dates. You Team members involved pursuing a psychology degree as well as could subscribe and get the alerts of tour • Spotify followers growth of over 50% (starting at 170,000 at launch being a mother to a toddler, but it also dates and links to videos before they were of album and growing to 260,000 as of today) Mike Holdsworth, UK project manager speaks to us all – the noise and craziness public. • Spotify streams of 35.5m for the album Kraegan Graves, US project manager of everyday life with that calendar alert Rather than getting notifications • Instagram follower growth of nearly 100% (starting at 57k at launch Laura Sykes, Phil Waldorf, Darius Van going off... you need to hit “Remind Me through your social feeds, you would get of album and growing to over 111k Arman, Hannah Carlen, Robby Morris, Ali Tomorrow”. notifications via your personal calendar • Audience demographic targets hit on every major platform (close to Murphy, Tom Davies, marketing/label team The pre-announcement of the record app – the same way you would get 50/50 gender split and age range of 25-40) Bri Aab, Harlan Kelly, US radio was done via a limited edition T-shirt. A notifications about your regular, chaotic Jess Kangalee, UK radio/TV fan had made a T-shirt with the words life. We were also able to tell Sharon’s Jon Lawrence, UK press, Chalk “When is Sharon Van Etten’s next story through the calendar – what she Jessica Linker, US press, Pitch Perfect album?” – so we took that idea and sold was up to on any given day, be that EDIT campaign breakdown a limited run of shirts with the exact her daily life of going to classes and Overview of campaign same design and the date of the release looking after her child or the huge promo CAMPAIGN BUDGET £25,001+ of the album on the back, selling them moments and campaign dates that were AUDIENCE DEMOGRAPHIC Sharon Van Etten’s album title, Remind through Sharon’s website a week before building up around the release. It gave Me Tomorrow, set the tone and creative the official announcement. This served fans a real insight into who the artist was AGE: 25-34, 35-44, 45-59 spark for the campaign. This was a record as a great teaser to the fans to expect behind the music. AUDIENCE GENDER (M/F): 50% / 50% specific to Sharon as an artist who works something. An important aspect of this campaign LOCATION: Global in various forms (music, acting) and is also Our launch of the record incorporated was to portray Sharon as a mainstream

52 | sandbox | ISSUE 242 | 11.12.19 ABOUT SANDBOX SANDBOX 2018 SURVEY

5 SECONDS OF SUMMER CAPITOL RECORDS UK CONTACT

 Boat: Holly, Holborn Studios Team members involved 49-50 Eagle Wharf Rd London N1 7ED Jo Power – senixxind  www.MusicAlly.com

Overview of campaign  [email protected] Published by music ally. SUBSCRIBE TRAINING For alt-J’s third album, Relaxer,:) the artist’s Registered company number: creativexn – eaching almost triple the 04525243 music ally existingmusic: )socialally isfollowing a knowledge organically company over the for the To subscribe to music:)ally, begin a :) ‘s Learning teaserglobal and music announcement business. campaign. corporate deal or add subscribers to Hub contains over 30 VAT number: 858212321 Working with design agency Another an existing corporate subscription, videos of up to date fully Kind,We help we replicatedartists build an entire their audienceslevel of certified video modules. © Music Ally Ltd. For the purposes of LSD Dream Emulator on altjband.com to please contact Anthony Churchman on and connect with fans and we help build personal, private use the subscriber may create an inxxng animated visuals from [email protected] We also provide bespoke sustainable careers for those within the print this publication or move it to a the ‘In Cold Blood’ video. Spotify created workshops and courses storage medium; however, this publication music industry. We do this by researching boutique content, including a “gamified” for labels, managers and is intended for subscribers only and as Facebookand publishing canvas newsmarketing and plan. the latest trends the wider industry across such may not be redistributed without on digital change, marketing, startups To learn more about our training, permission. the world. This can be andResults strategy, & key by learnings educating and training learning and development, and provided in the form of companies in what we know, and by running innovation workshops, again please Subscribers agree to terms and conditions set up on the music: ally website, Thecampaigns momentum to learn gained as from much prioritising as we can and contact Anthony Churchman on in-person workshops, ) except where a separate contract takes streaming on the campaigns for the band’s webinar-based delivery or drive excellence in our industry forward. [email protected]. precedence. music:)ally has taken all first two albums has helped generate nearly simply through materials reasonable endeavours to ensure the 2bnWe streamsalso produce to date events and meant such they as had our creation for corporate L&D validity of all items reported within this alreadySandbox grown Summit a loyal events and engaged for digital fanbase programmes. document. on streaming platforms, who were ready and For digital marketing and marketers and our forum for international waiting for the new album. This has helped campaign-level services, please We do not assume, and hereby disclaim, executives NY:LON Connect. Relaxer already racexer-fans and different contact Patrick Ross at MARKETING SERVICES any liability for loss or damage caused consumer markets early on to retarget l [email protected]  campaignby errors breakdown or omissions. In particular the Clients include: Spotify, Red Bull, Universal n Digital health check content is not intended to be relied upon Music Group, Sony Music Group, Warner Music n Audience development, remarketing in making (or refraining from making) investments or other decisions. We cannot Group, , Facebook, Amazon, and CRM setup CAMPAIGN BUDGET £25,001+ If you have a digital campaign be held responsible for the contents of any Google, Domino Recording Co, AEI, Anjuna, n Ad campaign audit / optimization AUDIENCE DEMOGRAPHIC related story for sandbox, linked sites. Songtrust, Blue Raincoat Music, Chrysalis n YouTube assessment / optimization AGE: 19-24, 25-34, 35-44, 45-59, 60+ Records, The Orchard, the MMF, the BPI, please contact Eamonn Forde on n Facebook assessment / optimizationAUDIENCE GENDER (M/F): Slight female skew Berklee College of Music, BIMM and more. [email protected] n Digital marketing plan creation LOCATION: Global n Digital media buying

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