06 Tools Soundcharts 07–08 Campaigns Amy Winehouse, Jean-Michel Jarre, Deezer, Avenged Sevenfold 09-12 Behind The Campaign Biffy Clyro

NOVEMBER 02 2016 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 167

SUPER- MARKET FINDING AND KEEPING YOUR SUPER FANS COVERFEATURE Not all fans are created equal. What most acts want is as many fans as possible, but the super fans are often the first to flock to them and will often be the ones still there long after the stadium shows and #1 singles have dried up. Holding and cultivating them in a time when there are so many other distractions has never been more important. Marketing experts speak to us about how to identify super fans and how to ensure they stay super fans.

How to create, and any number of imagined slights can be a truly keep, your super fans desperate sight. With this is mind, sandbox presents its All fans may be equal to musicians, but guide to encouraging, and keeping, your some fans are certainly more equal than super fans. others. Yes, we’re talking the super fans, the semi-mythical tier of hyped supporters 1) Locate your existing, as who will shell out for expensive box sets, well as potential, super fans champion your cause on social media and send your records up the chart by sheer The logical first step in this process is finding force of will. It is a concept so potent that existing super fans, as well as those who it has now reached from band into brand could one day become them. In the digital marketing, with Forbes – of all people – age, there are hundreds of ways in which recently writing about super fans as “the you can measure fandom, from seeing secret weapon in marketing”. who has signed up to your email database One of the advantages of an art as to remarketing techniques (see Darren visceral as music is that fans are far more Hemmings interview on page 4 for more on likely to obsess over their favourite band this). Essentially, though, it all boils down to than their #1 soft drink. engagement, both online and off, as Cyber Equally, though, the power of individual PR founder Ariel Hyatt explains. taste in music means you can’t exactly “Who is in the front row at shows?” she create super fans, no matter how clever asks. “Is there anyone you see often in your marketing. What you can do, attendance? Who hangs around the merch however, is encourage them along their table? Look to see who is interacting with you journey, leading fans up the tunnel from on Facebook, Twitter and any other socials. casual to super. Who is liking your Instagram posts? These You also need to work to keep your super are your super fans and they should be SUPER-MARKET fans, of course. We’ve all gone off bands, categorised as such.” however much we once loved them, and to Of course, there are no hard and fast finding and keeping your super fans see super fans turn on their former idols for rules as to what constitutes an actual or

2 | sandbox | ISSUE 167 | 02.11.16 COVERFEATURE potential super fan, so marketers will have fans and creating media attention. But would to establish their own guidelines. “It’s all probably only work for someone with his about analysing the data and setting certain level of fame, rather than a Beyoncé-esque parameters,” says Luke Ferrar, senior digital superstar. marketing manager at Virgin EMI Records. Other musicians embrace social media. “A fan has to have completed Oliver Cox, contributing writer for Soundudes X action to belong to X group. Using (a platform that existed to connect musicians Facebook as an example: super fans may with their SoundCloud fans), cites former have had to have liked, commented on Civil Wars singer Joy Williams as a good a post, and watched over 50% of a video; example of a musician who communicates casual fans may have just liked the page of with their fans on Twitter “like they’re the artist, potential fans may like a page of humans, not wallets (asking them for advice a similar artist.” If, during this process, then on getting through a rough day)”, which you can identify potential influencers or a message before everyone else. And then he says “is a great way to forge a strong band champions among your fan base, then when the information becomes public their emotional bond”. all the better. attitude is, ‘Oh yeah I already knew that.’ And Artists can, of course, also pick up the they feel like part of an inner circle.” phone and speak to their fans – “Skype with 2) Talk to them, in any Cohen adds that email is “still the most the artist”-style packages are often popular way that feels right effective way” of communicating with fans, rewards in crowdfunding campaigns – or a view shared by Walter Gross, who heads meet them for coffee. Alternatively, there’s Nobody likes being ignored. So it should up digital marketing at Sony’s Legacy label. the modern version of a coffee shop natter: come as no surprise that one of the keys ”Email is your only owned data Twitter Q&As or Reddit AMA sessions. The to encouraging and keeping super fans is source ,” he says. “You look at Facebook possibilities are myriad. to talk to your fanbase. If this seems like or Twitter and all these other platforms, and incredibly open-ended advice, that’s because we have seen this with the way they have 3) Bring your fans it is: there are hundreds of different ways to changed their algorithms […] It is very clear into the “journey” communicate with your fans and the best that those platforms have matured, they way to do it will depend on what you know have a business model now and they are One of the main points that separates the about them, how many fans you have and essentially making you pay to access their super fan from the regular follower is a the ways that the artist in question feels data. And email lists are our data. And it strong emotional bond with the artist. That comfortable about communicating. allows us, over time, to build a 360-degree means they are emotionally invested in Scott Cohen, CEO of The Orchard and profile of the fan.” the artist’s success and will, as a result, do manager of The Raveonettes , says that XL-signed electronic producer Powell , anything to enable it. This can go too far at communication helps to create the right who has a background in advertising, times, when packs of fans turn on their idols’ environment to move casual supporters recently demonstrated the power of email in perceived rivals. But if cleverly harvested, into super fans. “There is one set of communication,” he explains. encouraging super fans, when he published this emotional super fan power is one of the messaging that should go out to random “The super fans should know any his email address on billboards in New York strongest tools in marketing. people that may or may not like an artist. information that you are going to ‘press and London. “I don’t like Facebook, I don’t Talking to your fans is one way to do The second that goes out to fans of the release’ first. They shouldn’t find out about like Twitter,” he told The Guardian. “I stuck this. Another way is to bring them into the band. And the third messaging that goes gigs or new releases or you’re heading into my email address on a billboard instead, and “journey”, giving them insight into the artist’s to a much smaller group that is the super the studio because they’ve read a press I had a thousand real conversations.” This development. Again, there are many different fans and often that is even one-on-one release. They should know because they get approach paid dividends both in engaging ways to do this and the right approach will

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in a new album can sometimes be as simple money. But it has already worked for bands as getting them to invest financially in as diverse as Marillion and Ben Folds Five. it. This is something we have seen with crowdfunding sites such as PledgeMusic 5) Reward fans with or Kickstarter, where fans are asked to exclusive content cough up their hard-earned cash to help their idols record and promote their new Exclusive or limited content is like halogen releases. light to a super fan moth: not only will they Clearly, this has a financial benefit for pack your merch stand at gigs, they will also depend on the artist. But the key is to offer artists. But helping a band to record shell out large amounts content that takes the fan “backstage” both a new album will also help fans of money on limited box literally and in a metaphorical sense. to connect more with the release: set releases just to get Video works well for this. In a blog, you’re clearly going to pay more their hands on a replica Ben Sword, founder of Music Marketing attention to an album that you laminate backstage pass Classroom, offered 32 different kinds of helped fund than one that simply from your 2001 tour. This, video content that he says can help to turns up on Spotify one Friday naturally, is something But exclusive content can also be used to create super fans, from “making of the morning. Again, this approach won’t work that labels and artists will encourage super fandom and keep your video” directors commentary, to video diary for a superstar act that in no way needs your exploit for financial gain. existing super fans happy. updates, soundcheck videos, Cribs-style Again, this can take many forms, from home tours and “live from the mercy booth”. exclusive tracks sent to an artist’s mailing These may sound like esoteric viewing but list to instant grat downloads for albums to an official Metallica soundcheck video from pre-orders. You can also have fun with it: Brisbane in 2013 has almost 350,000 views MOTIVE UNKNOWN’S DARREN HEMMINGS GIVES HIS underground dance producer Moodyman , to date. And the joy of modern technology for example, sent bonus 12-inch singles means that creating and uploading this kind seemingly at random to fans who ordered of video content is incredibly easy. NO.1 TIP FOR IDENTIFYING AND CREATING SUPER FANS his most recent album; Zomby likes Keep sets of custom audiences across Equally though on a more basic level to tweet out links to download recently 4) Involve fans in the any platform allowing remarketing, in if you have your own online store and completed songs; while Powell gave a zip file music-making process which you track visitors (or clicks can track purchases via Facebook of unreleased productions to a selection of on links, or transactions – as Conversion Pixels, you’d be able to fans who wrote him emails. A key part of this “journey” is the actual applicable) for seven-, 30-, 90- see who has been purchasing and “Once an audience of super fans has process of making music. Bringing fans and 180-day periods. That way over what period. been identified, I recommend maintaining into this process, then, will reap dividends. you can combine (or subtract) That would also allow you to the relationship on a more personal level by Doing this this can be as simple as posting them to get a ‘3D’ picture of your establish who the super fans are rewarding the fans with exclusives or ‘first “in-studio” videos tracking the process fan base. For example, the 30-day and also ensure that you can either look’ content,” says The Orchard director of songwriting and recording, updating audience minus the seven-day continue to connect with them (via of interactive marketing Dan Griffiths. a blog or dropping subtle hints as to the audience shows you everyone who has paid placement or organic engagement), “This can be anything from carrying out a masterpiece you are making via social NOT visited in the last seven days, but who or you can seek to re-engage other fans to Q&A to a small number of fans via Google media. Artists can even ask fans for their DID visit in the last 30. Ergo, these may be stronger draw them in such that they ultimately become Hangouts, which I have done with several advice, on anything from lyrics to the name fans who just need a bit of re-engagement. super fans. artists, inviting fans down to a show early to of the album. watch a soundcheck to selling them a very Equally, getting fans to invest emotionally limited release with a larger profit margin.

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many more, making this into one of the by everyone from Nine Inch Nails – most important steps in encouraging and whose remix.nin.com site allows fans to maintaining your super fans. download stems of Nine Inch Nails’ songs You can, for example, invite your super then post their remixes – to Björk, who fans to take part in your video. In 2012, asked fans to remix and cover her song Graham Coxon did just that, asking fans ‘Army Of Me’ for the charity album Army Of to send in dance footage for the video for Me: Remixes & Covers. his single ‘What’ll It Take’. The final promo What’s more, the growing popularity of included clips sent in by 85 fans from 22 lip-sync apps like musical.ly and karaoke countries. The following year 30 Seconds To apps like Smule has made it easier than Mars were criticised for asking fans to get ever before for fans to ally themselves with the lyrics to their song ‘Do Or Die’ tattooed on their favourite artists’ music and it is no their bodies for a lyric video. coincidence that artists like Ariana Grande Another possibility is to ask fans to (musical.ly), Luke Bryan (Smule) and Jason submit remixes and cover versions of Derulo (both) have added these tools to their your song, a route that has been taken marketing mix. :)

The Raveonettes, for example, invited some of their most loyal fans to a special invite- only show last year.” MARKETERS GIVE THEIR NUMBER ONE TIP FOR

6) Name your fans IDENTIFYING AND ENCOURAGING SUPER FANS

Rihanna has her Navy Neil Blanket, head of marketing at Mute and Lady Gaga her Little With regards to super fans, I would imagine our approach is quite similar to other labels/ Monsters, so why shouldn’t marketers; we use the tools available to us such as Facebook Insights, Google Analytics your artist have their own etc. But a lot of it comes to down a general knowledge base and sense of who our artists fan army? OK, this might are – and therefore who their fans are. We are yet to drill down into this to actually target sound a little grandiose for specific named people, but it’s quite possible. someone who is far from Rihanna levels naming your fans, either: you can create I think that with the right artist creating super fans is actually possible – someone like of fame, but having a name for your your own fan hashtag – like Lady Gaga’s Marina & The Diamonds does that really well, but it’s not really something we’ve concentrated on here – which is fans makes it easier to talk to them on #PawsUp – or even Twitter emoji, like more to do with the type of newer artists we’ve worked with, although it’s definitely something we’d like to get into. a personal level, while they will feel part Gaga’s #JOANNE or the Rolling Stones’ of a select group of fans who go beyond tongue symbol. Dorothy Hui, VP, digital at Sony Music Entertainment UK the casual consumer. Just ask It’s all about A&R. My top tips are establishing a strong, emotional connection with former Inspiral Carpets 7) Put your fans in super fans by creating music they couldn’t live without; delivering consistently organ player Clint Boon, the spotlight entertaining, moving and memorable live performances; and using CRM and who never misses the social to identify and engage with super fans on an ongoing basis. opportunity to mention Creating a name, hashtag or emoji for your his own “Boon Army”. fans gives them one way to show off their You don’t need to stop at fandom. In the social media age, there are

5 | sandbox | ISSUE 167 | 02.11.16 TOOLS SOUNDCHARTS

Data is defining the current music one play of 68 in total, 44 of which per month for individual users such industry, with every other startup claiming have occurred in the past 90 days, as artists and managers, rising to to bring the final word on data analytics suggesting that Jack’s fanbase there €149 (£134) for independent labels, to the table with whatever service they’re has been more long standing than in distributors and platforms with providing. But really few platforms offer the UK, given that his latest release was only up to 10 artists. The airplay stats are only the depth and streamlined experience that a few days ago. available to Enterprise users, who would we need to harness data efficiently. So that all sounds like data, right? have unlimited artists and, as always, a large Granular data with a real use within fee subject to negotiation. The latest to enter the fray is Soundcharts, the industry. Perhaps the best case in point is which offers real-time charts, social, playlist The ability to watch more than one artist Weiszfeld’s own artist – 16-year-old and airplay monitoring to the at a time is what Soundcharts sees as Petit Biscuit . Under David’s management, music industry. setting itself apart from competitors such Petit Biscuit is #10 on the Spotify charts, and sandbox spoke to David Weiszfeld, as EI and Revelator. While platforms such he claims that Soundcharts is his number founder and CEO of Soundcharts, who analytics across distribution platforms, as these do a great job, they are aimed at one tool, and the reason he manages initially built the platform for his own streaming and download stores, plus their users who need reports on the music they without a label: “I always know what’s going use, saying that he had a personal need most recent addition – a worldwide airplay have the rights to, whereas Soundcharts on,” he says. “I know what’s going on quicker for it after working as VP of international monitoring solution. offers intelligence across the board, allowing than if I was signed to a label”. exploitation for Universal Music France Radio airplay is still one of the biggest industry users to dissect the data of other The biggest companies around us where there was no automated way to track cost-per-revenue avenues around, and artists to drive conversations in the direction are using more and more granular the analytics that Soundcharts offers. paying third parties to monitor each they want. “Look, my artist has way more data. If there’s nothing to back up one’s “If you break an artist in 2017 and territory’s airplay is costly, with potential downloads than yours. Give me a record endorsements, then we’re throwing you don’t use data, it means you’re lucky,” revenue from other territories being deal/publishing deal/gigs.” money away. Soundcharts offers the he said. missed altogether. Cross-comparison and benchmarking ability to check metrics for all artists – not For all the big music companies, data Soundcharts offers a real-time view of are fundamental points of negotiation just those you have the rights to and the intelligence has been a huge step. Apple all your major radio stations globally, so at within data analytics. As the digital world arrival of its airplay feature is significantly Music’s purchase of Semetric, Pandora the time of writing, we knew that BBC Radio moves so fast, it’s vital we see our results driving its position. buying Next Big Sound and Spotify’s 2 had just finished playing ‘When We Were alongside others to accurately assess While Weiszfeld doesn’t like to commit acquisition of The Echo Nest all mark Lovers’ by Jack Savoretti (11:42am), which, current strategies. to particular road maps, there do appear significant moves to use data more on closer inspection, had been played by the Soundcharts currently has well over to be more metrics on the horizon. efficiently in their businesses. As Weiszfeld station some 50 times in the last 90 days, 48 9,000 users, including a mixture of The platform plans to delve much told us, his life has been about trying to sell of which occurred in the past 30 days. both indie and major labels, plus deeper into data than it already music on a global level. With Soundcharts Across the continent in Savoretti’s distributors, managers, and even does, expanding its hundreds arriving around the same time that Next Big parents’ home country of Italy is 28% of Jack’s festival bookers and publishers – so of monitored airplay stations to Sound was bought, it seemed to be, in his fanbase, only a slight increase on the UK there’s an incentive for most roles in thousands. The most notable thing words, the “right tool at the right time”. which is short a couple of hundred. There his the industry. to expect is the arrival of a mobile Soundcharts’ dashboard is slick, allowing most-played song is ‘The Other Side Of Love’, Pricing is reasonable for the amount app, which he promises by the end of users to search for artists and track which RMC played this morning at 6am, of data on offer, starting at €36 (£32) the year. :)

6 | sandbox | ISSUE 167 | 02.11.16 CAMPAIGNS The latest projects from the digital marketing arena AMY WINEHOUSE FOUNDATION COMPETITION JEAN-MICHEL JARRE’S OXYGENE OF PUBLICITY

French electronic pioneer Jean-Michel Jarre is about to launch Oxygen 3, serving The Amy Winehouse Foundation is helping ‘Back To Black’) for fans to record their own as the final instalment of his Oxygene victims of drug and alcohol abuse via Amy’s toplines over. album triptych, which has now spanned Place, a safe shelter for female victims that The instrumental backing tracks were nearly 40 years given that the first album offers support and education produced by longtime was released in 1976, with the second to tackle the resulting issues of collaborators and patrons arriving in 1997. homelessness, mental health of the foundation, Mark and unemployment. Ronson and Salaam After working with numerous singers and Remi, offering fans the artists on the previous albums, he’s also Its Resilience Program teaches opportunity to record their now going it alone. 40 years is a long time future? With iMessage stickers, of course – the subject of drug and alcohol own versions of these songs to drag out a complete release, so hats off the ultimate millennial gesture. awareness as well as prevention, taking it and upload them to YouTube and win the for sticking (pun intended, as you will see) With streaming, this album’s got a good into more than 100 secondary schools in the chance to have their performance filmed and with it. chance of getting onto a lot of playlists UK, driving a 20% decrease in pupils’ likelihood recorded in a studio and then debuted on the Jarre defined his sound a long time where younger electronic listeners won’t be of under-age drinking. An important cause official Island Records YouTube channel. ago – and fell out of fashion for a bit as a musically ageist; but are they likely to use getting much-needed backing. Both Island Records and Vevo will be result. But by the turn of the millennium skull stickers reflecting the album artwork? Now to mark the 10th anniversary of Back contributing funds from the campaign to he was being hailed again as an electronic Stickers are for the young super fans, To Black, her masterpiece, Island Records the foundation so that the volunteers can pioneer, both by the French acts then and Jarre’s already-cultivated fanbase are has partnered with Vevo to raise funds for continue to help young people avoid the breaking through in his wake (Air, Daft far from young. Any young listeners will the charity, launching a cover contest that is difficulties that Amy Winehouse faced Punk, Étienne de Crécy, Cassius) as well as most likely be passive. Let’s face it, who open to anyone. Four new lyric videos have herself. This is a simple yet powerful others around the world. He has always in their phonebook is going to care about been uploaded to the late artist’s YouTube campaign celebrating the anniversary of one been obsessed with sonics and this is Oxygene skulls anyway? It is a nice gesture, channel, with links to download brand new of the greatest contemporary albums ever apparent in the expansive sound of his but perhaps a little forced when his whole backing tracks for each one (‘Tears Dry made and we hope to see some great covers new album. career has been about following his own On Their Own’, ‘Rehab’, ‘Just Friends’ and coming out of it. So how do you bring something that path and letting fashions fall in and out was released 40 years ago into the with him rather than vice versa.

7 | sandbox | ISSUE 167 | 02.11.16 CAMPAIGNS The latest projects from the digital marketing arena DEEZER’S GRIME TIME A-VR-ENGED SEVENFOLD

emerging acts. The channel will be available globally, acting as an alternative to the YouTube channels This where grime had established its follows natural home – being a place to in the quickly post recordings and remixes, footsteps building audiences as a result. of many VR performances by the likes of This is a clever move by the service, Paul McCartney, Foo Fighters and, of course, setting itself apart from other giants Björk. VR has become the new way for fans such as Spotify and Apple Music by to get close to experiencing the front row celebrating what was previously a of their favorite band’s gig on the other very niche genre (but is now directly side of the world and there are some who affecting the sound of the top 40) adamantly believe it won’t be long before VR and making space for it within the concerts are ticketed to headset owners en platform. masse. Deezer UK & Ireland’s head of For those lucky enough to be at the actual editorial and content, Roman Tagoe, performance in person, why would they referred to grime as “typically anti- only use their eyes (and ears)? There were establishment by its very nature”, 50 Samsung Gear VR headsets at the event saying that it was time for the British for attendees to transport themselves right music industry to “step up and up onto the stage while they listened to an recognise that it needs to identify new immersive, spatial audio experience captured ways to support this unique genre”. by the purpose-built Nokia OZO camera. Deezer is also investing in The very next day the band’s latest album, bursaries, mentorship and guidance The Stage, was released, two months ahead for young grime artists and their It wouldn’t be sandbox in 2016 without virtual of schedule – or so the fans thought. teams, stating that nearly 80% of reality (VR) somewhere. Enter Capitol-signed Lead singer Chris Jericho managed to fake grime musicians aren’t signed to a rock band Avenged Sevenfold, who last their release date to throw fans off the scent, So as we near the end of the year, Deezer traditional label. weekend live streamed a 3D/360-degree putting a December release in his Instagram is helping to amplify the ultimate musical This should open up the genre and bring it performance in partnership with broadcast bio with the hashtag #VoltaicOceans, before buzzword of 2016: grime. into the light with dedicated playlists – Grime network and technology company VRLIVE. deleting it a few hours later, feigning a & Garage, Instant Grime and Godfathers Of miscommunication. The French streaming service is launching Grime among them. It’s truly great to open up The performance will be accessible on It’s the simple things that work, with fans a dedicated grime channel featuring a the mainstream to these niche genres, but we Universal Music Group’s newly launched sent into a frenzy over the premature album mixture of playlists, podcasts and videos just hope this doesn’t get cancelled out when VRTGO VR platform, which is available on drop, already hyped from the previous night’s from 36 grime artists, while also highlighting something else swings into fashion. Android and iOS for free. VR performance. Well played, guys.

8 | sandbox | ISSUE 167 | 02.11.16 BEHIND THE CAMPAIGN BIFFY CLYRO BEHIND THE CAMPAIGNBIFFY CLYRO

Ellipsis is the seventh album by Scottish rock band Biffy Clyro Of Winter’. We did an animated video for it, (and their fourth with Warner), arriving three and a half years which we had never done before with them.

after Opposites, their first UK number 1 album. JENNIFER IVORY, SS: It came quite quickly because of the VP of marketing for Warner Bros UK, and SEBASTIAN SIMONE, timeline leading into album release. The marketing manager at Warner Bros UK, discuss how, during a warm up was a process of whiting out period when there were no TV opportunities, they built their own, all their socials and their website. It was where multi-formatting can really impact, why the band finally nothing except a white background and an adopted Snapchat and how Facebook was used as the backbone ellipsis. of the campaign. JI: That echoed the album title and the album artwork, which is all white and they represent the three dots. It was the prefect thing to change the creative as everything was going to have this white colour through it. For the last few albums, they had Storm Thorgerson doing the artwork – so it’s been all lush. We needed to, creatively, turn the page completely and not have anything that was an homage to Storm or looked anything like Storm. It was Simon’s idea to have them represent the dots on the ellipsis . That gave us fantastic word play and imagery to play around with. Announcing their return after three years JI: I have worked with Biffy for eight years SS: A week and a half before the across their [previous] three albums on announcement of the album or the single, Warner. It was over three years since their the sites where whited out with the ellipsis. last album and they took some time off A few days later we put in an audio teaser of as they’d not really had any time off – and nothing but the first 10 seconds [of the first they’ve been together for six albums. They single]. needed some time off to regroup. They recorded the album in LA but there was no JI: The album wasn’t revealed yet. rush from us to get it out; they needed to be comfortable with where they were at. SS: Then there were two short 10-second Because of that we wanted to frontload video teasers of footage of them in LA as much as possible to tease the fact they recording the album. Then the premiere of were back. We did that with two singles into the record was on Zane Lowe [on Beats 1] the album. We started with the rockiest and and the hottest record [on Annie Mac on most bombastic track on there – ‘Wolves Radio 1]. That was partly because of Zane’s

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allegiance and relationship with the band moment and we had never done that before. We turned a corner. They went on Snapchat going back years. So we had both Beats 1 just before the tour started in Europe. and Radio 1, which was pretty amazing. JI: At that point in June there were no big TV shows around so what do you do if you don’t JI: There were a number of reasons [for Using Facebook to reveal the album sleeve have a big terrestrial platform to launch it joining Snapchat now]. The next single SS: One of the progressive moves we were on? You make your own. And that’s what is ‘Re-arrange’, a ballad – the first ballad able to make was the ability to use Live for we did. from the album and probably their most the first time on Facebook for the band. So commercial track to date. We just wanted to every single fan on their Facebook would SS: The reach we got from that was arguably widen out the musical landscape in terms get the same notification saying the band bigger that traditional terrestrial TV reach. of maybe getting it onto Radio 2 [and so on], was live on there. We carefully chose our You’re talking millions. And it’s international so we wanted to broaden the social media moment with it and did it around the [in reach]. landscape. Especially if they are going album artwork reveal which was the dot to America, Snapchat is quite an dot dot of the ellipsis morphing into the JI: We obviously spread content across all important platform there and finished artwork [where the three members platforms [not just Facebook]. skews into a younger audience. are curled up in circles]. That was a really exciting moment where fans were trying to SS: Why put a full video of Facebook ? I SS: By nature of what Snapchat is, it’s just a guess what it was and what was going on. think you have to find a balance of what you more personable window into their mindset We had not done an artwork reveal expect you would get out of YouTube versus and what they get up to on the road. through Facebook Live before. There what you’d get out of Facebook. was a lot of collaboration with Facebook JI: It’s just a different context and a different throughout this campaign and ‘Wolves Of JI: For the launch, we wanted to get as much look. We’ll figure out things like musical. Winter’ was one of those examples. When reach as possible. ly next. Everything ultimately had to come the official video was released, it went on from the band and it has to be authentic. Facebook exclusively [for several days]. It the reach is. SS: It was on Facebook for a week before We wouldn’t push them to do something was all done on a content-by-content basis. it was taken down and had several million they weren’t into doing. There is no point. But it just lent itself perfectly to Facebook, JI: Now doing Facebook Live is the norm. But views. By the time it goes on YouTube, They will find their way to musical.ly at as that is where their fans are; that is where at the time it was a big deal. the single is bedding in at radio and there some stage. As they have found their way is a broader media awareness of it so it’s to Snapchat. We will see what happens with SS: It was new, natural fans will consume video content on exciting and scary. YouTube. It does naturally merge into that We had a Q&A with over time. Fearne Cotton from the Firepit [Warner’s Moving onto Snapchat for the first time in-house studio and SS: We did a fun scavenger hunt that was creative space in their coordinated internationally leading into the London offices] with release of the album. But it was really quite a live session as part clean parity across all social media. of it. That was hosted by Facebook to get JI: We had good engagement on Twitter and super-massive reach. Instagram – and we have just convinced That was a really good them to go on Snapchat as of early October.

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‘Rearrange’ and their touring around Europe coordinate them internationally as we did and America in terms of how that performs. more so on this campaign than we have done before. Leading into the album and The lead singles are often eligible for pushing physical pre-orders big playlists like New Music Friday as they are genre agnostic. Certain tracks [from albums] will over-index and it’s skewed by playlisting anyway. With Apple Music, we did a Biffy Clyro Curates collaboration.

SS: To keep the plates spinning in the summer, they headlined Reading and Leeds Festivals for the second time, which was a big moment. They had done some European dates, but from a UK point of view [it was huge].

JI: From a promotional perspective, we did Later... With Jools Holland. They headlined JI: The second single was ‘Animal Style’. People just want something special – and Radio 1 Big Weekend [on the In New Music Biffy have always done that. We Trust stage in May]. They’ll be on the SS: The gap was quite small – three weeks road through 2017 – playing the summer between the first single and it. It was teased Using physical out of the gates festivals, America and so on. in a similar way across all social platforms and then using streaming, playlisting into the premiere on Radio 1. Simon [Neil, singer and guitarist] and live to maintain the momentum SS: They also did their biggest-ever Scottish For the album itself, we really fleshed out handwrote the lyrics to all the songs and SS: It’s not completely physical-centric. We show at Bellahouston Park to 36,000 all the formats . There was standard, then we cut them up and put them in nice did Spotify-centric pieces of promotion too. fans. It was their headline show. Prior deluxe, vinyl, coloured vinyl for indies, signed envelope so every time you bought a box to that they were doing 12,000-capacity vinyl for Amazon, a box set for D2C and a set you got a bespoke piece of the lyrics JI: With streaming we can elongate shows in Scotland. This was an enormous HMV exclusive with a 7” single. There were from Simon. We filmed so much content the campaign as much as possible. leap forward. :) so many different formats. They also played going into the album, which we continue Streaming gives the campaign some in-stores. to use today. a longer tail – rather than the traditional four or five singles from WANT TO FEATURE IN JI: Their audience is heavily physical on SS: The formats all went up an album. BEHIND THE CAMPAIGN? launch. We have done box sets for all their simultaneously on launch and then we Marketing people: do you have a campaign you are working albums on Warner and the fans love it. They took the opportunities we had with the SS: For the first two singles it was easy as on that you would like to see featured in Behind The Campaign are good quality pieces and is priced in a way different retailers. they can only live in so many playlists due to in a future edition of sandbox? If so, send a brief synopsis of that is not ripping anyone off. It’s not a high- the nature of them being rock-based – and it to Eamonn Forde for consideration and your work (and your price item – it retails for around £40. We JI: With any band with a loyal fanbase, they there are a limited number of genre playlists words) could appear here. haven’t gone about that price. The fanbase are going to want more personal stuff. We [for that sort of music]. Email: [email protected] loves that. have pop acts here doing signed colour vinyl. Those playlists are powerful if you

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

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Clients include: Digital marketing services

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

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