05 Tools Feature.fm 06–07 Campaigns Cinematic Orchestra, Alan Walker/ TikTok, Michael Bublé, Beatie Wolfe 08–12 Behind The Campaign- Barbora Poláková

JANUARY 23 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 220

VAULT-ING AMBITIONS making archives work harder and smarter COVERFEATURE

The past, the saying goes, is a different country: they do things making archives work differently there. But never has the past been more important for an harder and smarter artist’s present and future in this age of digital ubiquity. In the analogue era, archives were things only the biggest names in music could afford to run and maintain, but even then they were often a shambles. Now new acts are being encouraged to archive as they go along rather than having to dive into unorganised boxes in a panic when an anniversary comes around. We speak to marketers and the new generation of archivists about why these vaults are culturally and commercially valuable and how archiving should be done on a rolling basis as a down payment on future marketing.

n archive, much like your appendix, is problem is that the digital age has led the kind of thing you don’t really notice to people getting incredibly blasé about Auntil you have a problem with it. In the archiving. Digital content is easy to music industry, for example, many people search and it is plentiful. So why should won’t even consider the importance of you worry too much about how to store having a well-organised archive until your it? But, as anyone who has dropped a reissue campaign has been delayed hard drive or lost a phone will attest, our while you try to locate the Key 103 session digital files are often a lot more chaotically track of your hit single that the bass player vulnerable than people realise. insists contains their best ever work. “Does the digital age make archiving That might be a glib way to look at it but easy? No,” says Mullen with a knowing sandbox has heard of reissue campaigns laugh. “If you look at an archive from the being delayed and even cancelled because 1960s or the 1970s, it is neat. It has got of problems in locating key material. We quarter-inch tape, this nice file bin with have also heard plenty of horror stories of paper and objects and things. You can see expensive, unreleased video footage sitting it and feel it and touch it. forlornly on unmarked hard drives where Now you look at archives of people no one can find it. from the 2000s and 2010s and it is hard “We are so used to thinking drives; it is mis-mangled boxes. It is not that everything is available all as clean. Organisation is one thing when the time that we don’t think you have got a formula of assets that VAULT-ING of it,” says Tom Mullen, whose role people are used to. It is another when it as VP, marketing catalogue, for Atlantic could be a GarageBand file, a Pro-Tools Records has propelled him to the file, a Logic file or any number of picture frontlines of the archiving wars. “But this file types. Where are they and how are AMBITIONS kind of thing is really important.” they organised? Is the metadata on it?” As Mullen suggests, a large part of the What’s more, the fact that in 2019

1 | sandbox | ISSUE 220 | 23.01.2019 COVERFEATURE artists are constantly releasing new material – be it music, videos, pictures or something else – makes archiving even more important: if you are releasing constantly, then you need to be archiving constantly. Or risk the consequences.

Learning from the old hands

Despite the odd horror story, Mullen says that the music business is starting to wise up about archiving. It is an important part of his job, of course, but he says that Atlantic is not the only label making a significant effort to improve its archiving, while there also exist archivists who specialise in music. Neil Young’s archives are famously meticulously organised, Egypt Station – that then became an with the artist opening up an archival integral part of the artwork for his 2018 subscription site in December 2018, while album of the same name. “When it comes Paul McCartney’s MPL group created its to archiving, our ethos is that digital own digital archive a decade ago, as Steve assets are as important as anything else,” Ithell, MPL’s senior manager of production Ithell adds. “During campaigns over recent and digital, explains to sandbox. years, numerous assets have been created with the artist, the manager and the “This [McCartney’s archive] has grown digitally that still help tell the story of label,” he says, outlining what he sees as through the years to the present day, Paul’s career, so these are archived with his first rules of archiving. “Everybody is where over a million separate artefacts as much care and attention as a physical running around: the radio team has got can be found via keyword,” he says. object. Having such an extensive archive the artist early; the person that does the “This resource has become invaluable for allows us to put together legacy releases scheduling and touring have got things; putting together archive projects, such as filled with the minutiae fans love so much the artist and the manager have got the Grammy-winning Paul McCartney and has become the first port of call for stuff before they got signed. You need to Archive Collection . But this wealth of countless new projects too.” ”New bands need to archive – have conversations with them and then content is not just employed for legacy 1,000%,” he says, with the zeal of the for them to understand – either to do it items. At any given point MPL’s production Archive as you go convert. “What happens when that band [archive] on their own or to be able to send and digital department can be working gets big? Where is your first flyer? When you assets as things go along. It is a lot of on 100+ separate projects. Having Paul’s That’s all well and good, you might say. was the first time that you recorded that communication.” history so readily available informs a vast But few artists will even come anywhere song? All these things are worth so much. Some of his job, Mullen adds, involves number of current campaigns.” near the stature and lasting impact of You need to document yourself.” “backlogging” – going through the assets As an example of this, Ithell mentions Neil Young and Paul McCartney. So why Indeed, convincing artists, managers of current Atlantic acts – but he also has MPL’s archive department finding a should they even bother? You can almost and other members of his label teams of the same kind of conversations with newly previously unseen painting – a companion hear the air crackle when sandbox puts the need to start archiving is a key part signed acts. “I am treating them, like, if piece to McCartney’s 1988 painting this idea to Tom Mullen. of Mullen’s job. “It is a communication you are an urban artist, you will be a Missy

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are utilising that content to there needs to be a level of education say, ‘You went on this journey about how things are archived and how with us, thank you so much.’ they can be safe.” They supposedly have more Labels should also consider establishing than a full year’s worth of a central depository for archive content content to go through.” around their artists and make sure their staff are happy using it. This ensures that Store wars: knowing archive material is saved somewhere where to keep things considerably safer than an employee’s old phone but also protects against archive There is, of course, no magic material being lost in staff changes, Elliott,” he says. “Or if it is a rock act, you wand that bands can wave to make their something that happens more often than will be Matchbox 20 and you will be on archives impeccable because every artist the music industry would like to admit. this label for 20 years. Here are the things is different. That makes hard and fast we are going to do.” rules around archiving difficult to come by. Obsolete to the beat: That may sound like a rather lofty aim. And yet there are certain principles that futureproofing your past But Mullen says artists should be thinking artists, labels and managers can stick to of their archive as something they can use in order to make archiving easier. Labels and managers should also be on a year from now, rather than something Perhaps the most important of these your rarely used data. their guard against the constant menace that might come in useful when the band is to update your archive constantly – as “People need to change that mentality of obsolescence. On the one hand, this is in the autumn of their career. in every day, rather than every week – that if you are using the cloud to store means ensuring they have master copies “I am saying to these artists, ‘Next year, while your archive should be tagged and things it isn’t safe and someone can steal of any material recorded for third-party when it is the anniversary of you playing arranged correctly. There are also practical them,” says Mullen. “Keeping things in a platforms, such as Spotify Sessions, to Red Rocks and [you remember] that photo considerations in the day-to-day of hard drive on a desk can be the worst way defend against the possibility of that you took from your photographer of the digital storage: using back-up servers, for of storing them. People know that things platform disappearing. DSPs, despite sold-out show and everyone with their example, and considering cold storage for crash and files get corrupted. But I think their constant demands for exclusive hands up. We are going to post that. That content from artists, are generally fairly is an important moment and milestone open to this. “When we do a Spotify that needs to be documented. And that is Session , Spotify sends us audio masters what I am bestowing on them: that each and artwork and we release the product day is important and things that happen exclusively to Spotify,” says one British are useful a year from now, five years marketing manager. “Therefore we and from now and, yes, continuously.” the artist have access to the files before Jake Udell, a music manager and it’s released for archive.” founder of TH3RD BRAIN, explains that Artists, labels and managers also need twenty one pilots are very adept at to make sure they are not caught on the using archive content in this way. “They hop by the advances in technology. “You are releasing content showing they were need to save the master file as well as all at this 100-person capacity value three the different pieces,” says Mullen. “Like or four or five years ago and now they are when we do podcasts [at Atlantic] , we playing the arena in the town,” he says. save all of the separate audio. So if the “And to announce the arena show they final GarageBand file doesn’t work one

3 | sandbox | ISSUE 220 | 23.01.2019 COVERFEATURE day, you can go back to the other files.” now.” And so, for example, a band might Udell also bring up the problem of have pictures of them playing Prague external platforms. “[A lot of our for the first time 20 years ago. That archive content] is almost like it lives in probably didn’t seem of particularly great the world of social media, which once importance at the time. But two decades again goes back to the point of not on, their fans in the Czech Republic will be owning it. You do [a session] with the delighted to see these pictures. radio station, you don’t know who owns it. music:)ally SVP of digital strategy Patrick Do you own it or do they own it? And then Ross says archive material can also be of you put it on social media and great use when re-introducing an artist to owns the post. But no one is controlling the market, giving the example of David the content,” he says. Gray. “Certain artists have glory years, like A solution to this – one that Atlantic David Gray with White Ladder . That is is exploring at length with its dedicated what people still love them for,” he says. podcast team – is creating material for “To be able to go back and re-use archive your own platforms, rather than relying on material from that period is the best third parties. “You need to be doing things way to get attention for what they are on your platforms,” says Mullen. “For doing now.” example, with our podcasting initiative, we Can new artists afford this? Udell isn’t are doing audio interviews that are being so sure. “Even if you are only paying them transcribed. So we can use material from $100 a day to record, when you add in them rather than having to go and license travel and expenses then you are talking another interview.” about $100,000 a year,” he says. But As one example of how this can work, Mullen argues that it is far cheaper in the Mullen relates the example of a recent long run to look after your own archive. Atlantic signing who the label interviewed, “There is the example of an Elvis Presley with the resulting conversation so release that came out when I was at interesting that it fed into her official Sony [Prince From Another Planet from biography. “It’s not so much a case of Madison Square Garden as a 2 X CD/DVD saying, ‘This interview will now be used on deluxe set]. A guy had Super 8 camera CNN.’ But there might be a line from it or a footage from the Madison Square Garden word that we can go back to in the future,” show and Sony had to buy it from this guy. Mullen says. But what if Sony has recorded the show itself?” he asks. The archive creates the brand Ultimately, Mullen compares the archiving to pensions. “If This seems rather typical of how Mullen the 1980s, which came about because of my artists,” Mullen says. “I am not you contribute early on to your views the use of archive content as a his manager’s diligence in maintaining the talking about physical. You need to have pension, by the time you retire whole. Archive content can be used Dylan archive. But often, particularly with things for YouTube every month. You you are going to sit back and relax to drive revenue, as in the case of Neil new acts, archiving is more about building need to have things that are happening and enjoy all the stuff that you Young’s subscription service or the long the artist as brand. around you and remembering what they have. If you don’t and you have to run of archival Bob Dylan reissues since “I am not talking about reissues with are, a year from now, six months from start later it is harder.” :)

4 | sandbox | ISSUE 220 | 23.01.2019 TOOLS FEATURE.FM

to them the need for artists to be able to The other notable new feature promote themselves within both their own Sanders points to is the Facebook and and other streaming services. Instagram ad platform that allows you So, Feature.fm started its sponsored to advertise your pre-saves and action song product, akin to sponsoring posts pages by automatically generating on Instagram or Facebook. The company ad creative, retargeting and lookalike “Share your music like the pros,” proclaims Spotify-only version. (It now also supports first partnered with internet radio service audiences. Feature.fm’s welcome email on successfully Apple Music and Deezer.) More recently, it 8tracks, followed by Deezer. (You can Looking to the future, Feature.fm is signing up to the platform. But as CCO Dan has launched Action Pages which allow a also get sponsored songs on top music working on partnering with distribution Sander points out, it isn’t just a smartlink fan to not just pre-save but also save an blogs and websites.) As it began to build and artist-services companies, seeing how platform; rather it is a company that builds album that is already out or get them to a customer base, the team was alerted by they can integrate into services that artists advertising, marketing and analytics follow an artist, user or playlist on Spotify. music marketers to the many pain points are using regularly. technology for the music industry with the Interestingly, this is not where the of the multiple platforms they have to It is also looking to integrate machine aim of putting the music marketer right at company started. It was originally use. In response, Feature.fm launched its learning and AI to take its analytics beyond the centre, proving a full suite of tools to developed in Israel, with its founders marketing suite. just data and information, delivering make it easier for them to do their job. coming out of Mamram, the elite The platform is updating on a weekly, actionable insights based on marketing technology unit of the Israeli army. There if not daily, basis according to Sander. It activities. All of this supports its long-term Its marketing suite combines a number of are a number of other companies that has just rolled out the ability to connect goal to be a key marketing technology individual components, all talking to each share the same beginnings, points out with fans who have pre-saved – actually partner for the music industry. other and providing meaningful data back Sander, including the (now) Google-owned communicating to the fan who completed Getting started with Feature.fm is to the user. Waze and website creation platform Wix. that action as opposed to simply adding easy: simply sign up and give it a go. It’s a So what are these components of Founder and CEO Lior Aharoni was it to their library. This is something we at self-serve product – and it even has a free Feature.fm? Well, there is, of course, working in cyber security when he sandbox are big fans of, having tested tier with limited options to get you going. its smartlink platform, following in the partnered with his brother Zohar to start pretty much all the pre-saves . You get access to the full suite of tools by footsteps of SmartURL and Linkfire. The what they envisaged as a social streaming The ones that allow you to communicate upgrading to the paid version, as well as company has also integrated a pre-save service, intended to fill a gap due to the with the fan, and not just passively add the host of resources and best practices to function, expanding upon the initial lack of such a thing in Israel. This revealed release to one’s library, are doing it right. help you use it to its full potential. :)

5 | sandbox | ISSUE 220 | 23.01.2019 CAMPAIGNS The latest projects from the digital marketing arena ORCHESTRAL MANUVAS IN THE DARK: ALAN TIKTOKER: DJ CREATES ENVIRONMENTAL CINEMATIC ORCHESTRA BUILD “OFFLINE” WEBSITE #DIFFERENTWORLD CHALLENGE ON TIKTOK

“To believe… disable your internet connection that when the internet connection was cut. We have written now,” blinked the message on Cinematic But, as a simple trick, it was an effective one. a lot in the past Orchestra’s official site on 15th January against The band have not put out a new studio about Norwegian a stark white background. If you did what they album since 2007’s ‘Ma Fluer’. There have DJ and producer said – and switched off your Wi-Fi connection been live , soundtracks, compilations, Alan Walker and his – you were automatically taken to a new page solo releases and sporadic track releases, but approach to letting his (with a black background) giving details of this all suggested a full return was imminent. breakthrough track where to buy a limited-edition 12-inch single That was the state of play as of 15th January ‘Faded’ be used by of ‘A Caged Bird’ / ‘Imitations Of Life’ (which and at that stage Ninja Tune itself is was online gamers – just as features Roots Manuva, a fellow signing to keeping tight-lipped about what the act were long as they linked back Ninja Tune). planning; but the next day the site reverted to to the official video on second video, he goes to a normal (while keeping the black background YouTube (now at 2.1bn grocery store, refuses to take So what exactly was going on? A nice from the offline version) to reveal a new views) or DSPs where it a plastic carrier bag from the gimmick that allows you to toggle between album, To Believe, was set for release on 15th could be monetised. cashier and instead puts his online and offline modes on your computer or March with a tour timed to coincide. While YouTube shopping (bananas, a kiwi, a device? A political comment on the always-on There were links to buy the album (or is still enormously pear and a box of granola) in culture that defines entire generations now? pre-save it) from all the major outlets and important to him – and his hood and walks down the A satirical in-joke about having to, literally, specialist digital ones such as Juno and having 20m subscribers street like that. go offline to get details of real-world shops Bandcamp as well as key independent on his official channel is not to be sniffed The challenge was run in 48 countries which are the only places you can buy the retailers like Phonica and Norman Records. at – he is spreading his digital wings and ended on 17th January, with the band’s new music on a physical format? (The This was an encouragingly long list that somewhat to launch the #differentworld creators of the 60 best fan-generated tracks are also available on Boomkat and treated small physical retailers on an equal challenge on TikTok, with ‘Different World’ videos winning prizes, including Alan Bleep, but physical sales are the main thrust.) footing with the heavy hitters of digital. More also conveniently being the title of his Walker merchandise. It is probably all of these things and of this sort of thing, please. new single. “I want to use my voice to raise more. But it was the simplicity of what was The listing under the video asks that awareness on climate change and the happening here that really worked. Obviously fans “do something environmentally environment where we live, and TikTok is the second friendly while dressed in a black hoodie a great partner to do so, as it has become page (the and mask” and in Walker’s first official a dynamic platform for expression,” said “offline” one video for the challenge, he is filmed Walker in a press statement. with the black walking along in the snow as the track At the time of writing, there background) plays. He spots a discarded plastic bottle were 43.4m views listed across the was already on the ground, he picks it up, flips it into a #differentworld hashtag on TikTok as well loaded when bin and then turns to the camera to make as pages and pages of fans doing their you got to the an almost-heart shape with his hands (his creative spin on the challenge. All in all, a public landing page and it just reverted to signature “I Potato You” gesture). In his success.

6 | sandbox | ISSUE 220 | 23.01.2019 CAMPAIGNS The latest projects from the digital marketing arena BUBBLÉ ECHO: MICHAEL BUBLÉ LAUNCHES ALEXA SKILL WOLFE PACK: SINGER CREATES DECK OF SONG CARDS

After dominating every day where Singer-songwriter Beatie Wolfe has Christmas playlists (nine he will deliver “a long experimented with new digital of his 10 biggest songs story, a fact or an formats, releasing her debut album on Spotify are from his inspirational quote”. 8ight in July 2013 as a 3D interactive Christmas album), Michael It adds that he app, creating the “world’s first live Bublé is fully rested and has pre-recorded 360° AR experience” in 2017 that is returning with a new “personally recorded featured real-time AR animations Alexa skill to push his love hundreds of and holding an exhibition at the V&A (stylised as ♥ ) album and messages” to use on (The Art Of Music In The Digital Age) in his UK arena tour in May the skill. last September. and June. He has also created a YouTube For her new album, Raw Space, she The idea is that it reimagines the album Called Bublé Daily, the video showing how has revisited the tech concept for her in an age of streaming, hooking a digital skill is triggered when it all works. While second album, 2015’s Montagu Square. experience back to physical product. Even users issue certain other pop acts – Released as what she describes as “a though decks have gone out to media, commands – “Alexa, notably Paloma Faith type of digital cassette tape”, Raw Space the release is currently not listed on her tell me about Michael and Little Mix – have Album Decks features website as Bublé”; “Alexa, open developed their own a unique card for being for sale Bublé Daily” – and is, Alexa skill, this is the each track that so it is unclear at launch, available in most advanced one has been designed what the wider the UK, the US, Canada, to date. in collaboration push around Australia, Germany, “‘Bublé Daily’ with the ArtCenter this will be. France, India, Italy, Japan, represents an insight College of Design and As with New Zealand and Spain. into how Alexa skills features the work of the return of Each day a new quote will be embraced by a different artist on cassettes and from the singer is added the music industry,” each one, including (for those with a to the skill, presumably to get fans to use it runs the press statement. “It’s one of the first Erik Spiekermann, longer memory) on a daily basis as opposed to treating it as ever multimodal skills, which utilises both Marian Bantjes, Astrid Stavro and Lucienne the short-lived fad for USB albums over a a one-off gimmick. audio and video content featuring Michael Roberts. decade ago, this is in part about creating a (When sandbox tested it, we got him on compatible devices, such as the new Using NFC technology, users tap one of the new audio format as well as reconfiguring saying, “My favourite place to go with my generation of Echo devices, such as the Echo cards on their phone and it will trigger not just physical releases as a new category family is [his child says “Disneyland”] Show. It’s also one of the first artist Alexa skills the audio but also associated content such as of merchandise. While it is obviously Disneyland. That’s right, Elias. Check back that is launched via a custom command.” VR music videos, lyrics and liner notes as well interesting, it is not going to see chart tomorrow. I’ll have something new to say to The fact he reveals his favourite pizza as the artwork. (Those using an iPhone can companies change their rules to make the you then.”) is ham and pineapple could, however, be a access the content if they have installed the format chart eligible. But, of course, that Amazon says this will be changed bridge too far for some fans. NFC app on their device.) was never the point.

7 | sandbox | ISSUE 220 | 23.01.2019 BEHIND THE CAMPAIGN Barbora Poláková BEHIND THE CAMPAIGNBARBORA POLÁKOVÁ

Barbora Poláková is a Czech actor and singer who released her debut album in 2015. For her second album, Ze.Mě (translating as Country), the major marketing moment was shooting a live- stream video using Nokia devices. MARTIN KUDLA (A&R and head of digital marketing at Supraphon) and LUKÁŠ KADEŘÁBEK (marketing at Supraphon) explain why Instagram was used to drive engagement and build her following, how the live-stream created huge technical challenges but paid off in terms of content generation and attention, where Czech influencers were involved and how streaming is helping artists in the Czech Republic increase their international reach. The label expanding beyond its classical roots MK: Supraphon is one of the oldest and historically most important record labels in the Czech Republic. It was founded in 1932 and is connected with the development of the gramophone industry. In its history, Supraphon made its own gramophones and speakers. That is very different from today where we are a very traditional label. In the past, the label was more focused on classical music and it handled a little bit of popular music. Today there are now three main channels: we are focusing on [domestic] pop and as well as partially on classical music. But I would say globally the label is famous for classical releases.

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We are strong in Japan and Germany The market is still developing here and Facebook is not so interesting for younger as well as the UK. Classical music is there are a lot of artists singing in English, consumers right now. something we can export because there looking to export their music. In the Czech A lot of people in the Czech Republic still are no language restrictions. Czech music Republic in general there are a lot of acts have their Facebook accounts, but they are is focused locally and our market is not so who are singing in Czech but are also trying not using them too much. They have moved big – with around 10m inhabitants. But in to reach other markets in the world. from Facebook to Instagram. classical music we have a lot of famous conductors and composers like Dvorak, Turning an actor into a pop star How a live video shot on Smetana and Janácek. We have one of the MK: Barbora Poláková initially started as an mobile broke new ground biggest back catalogues in the country and actor on television and in films. She is well MK: She had made a few live-stream videos we still release from this catalogue. We also known in the country and after a few years before this one and that helped to prepare work with the Czech Philharmonic Orchestra she started to focus on her music career. We the audience and to get a bigger reach on and other famous conductors. released her first [eponymously titled] album her social channels. in 2015. One of the tracks [ ‘Nafrněná’ – The first live stream was on the 22nd Language is still an export translating at ‘Offered’] on the album was a August. She announced that there was barrier but streaming means big hit and was very successful on YouTube, something happening and used the the global reach is greater getting 37m views – which for this market is hashtags #285tosemilibi [named after the MK: The majority of our pop and rock artists not bad. single] and #PrvniZivyKlipVhistoriiVesmiru. are singing in Czech. Because of that we are The second live stream came a week after focused on the local market and a related LK: It really connected with people because that and the third live stream was a week market like the Slovak Republic because the of the lyrics and because lots of famous after that. languages are a little similar and we can actors were in it. That helped it go viral. understand each other. The new opportunities of MK: In the video she was making fun of streaming [to promote artists gossips and the relationships between internationally] are coming and people in offices. It was something that Building up to her second album and they are really strong. people could really relate to. using her Instagram as the driver MK: She released her second album in 2018. ‘2-8-5’ was the second single off the album and the main focus of the campaign. The main platform for her was Instagram and the main purpose of the video was to connect with as many people as possible. She had connections with a lot of famous actors and influencers in the Czech Republic. She invited them all to act in the live stream for her video. Instagram was her main channel but she also shared content on Facebook. As in most markets, Facebook here is not really for the younger generation. They are more involved on Instagram and Snapchat.

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Live streaming is a great way to connect with fans. A lot of people are using it now and I feel that it gives you a lot more reach. After the three set-up streams, everyone was curious and interested in what she was going to do next. There was enough attention around it to give it as much reach as possible. Nokia is her brand partner and gave her the devices [the Nokia 8 Sirocco] that she used to make the video. She was learning how to use the device and how to act in front of it, getting the lighting and angles right and learning how to speak to the audience in this way. It was great that audio and he was broadcasting wirelessly everything was prepared in advance. She to the in-ear monitors used by people in had been preparing for this all with the three the shoot. Barbora had two sets of in-ear previous live streams. monitors. One was for audio [the music] and The main live stream happened on the other was for directions as she was also the 12th of September. There were some the director of the video. specific technical issues that had to be The sound was connected from the solved to allow it to happen. At first there microphone and from the audio technician was a problem with the signal and the – and these two distinct signals were mixed broadcast audio. There were some issues together and sent to the Nokia mobile around synchronising the music to her devices via the input jack and mixed performance. together. The sound engineer had to develop When the video was being live streamed, a device to broadcast this chain and put all each actor had to know exactly what was the audio into one device. happening and they all had to hear the They could also take the signal from this music at the same time. It was all done in custom-built device. The device taped the one take and it was all a little bit inspired by signal from the input and streamed it to the OK Go videos. Instagram. It was a custom-built device just We prepared the recording three times for the video. before the actual live stream. It was all done At the beginning of the shoot there were at the local airport [where it was filmed]. some problems because of the signals – and Everything was prepared there. that is because the timing of everything right. We could not stop the live stream in some very specific technical devices was so crucial. The technical team had to Working around the live video stream’s the middle. That would have been a huge that were constructed just for this deal with the signal. They had to have more enormous technical requirements mistake. music video. You cannot buy amplification for the broadcast system MK: All of the devices used needed a lot We had some amplification devices like that. The sound engineer – boosting the antennae. After several of data because of the streams. They had of the broadcast signal from the developed this device for us. attempts, it came good. They knew it could to be 100% sure that everything would be mobile devices. The audio required The sound engineer was the source of the be done properly.

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Nokia as a key brand stream actually happened the audience was Because she has come from partner alongside others really interested in it. the acting world, she is keen to do MK: Nokia was involved as a brand partner In this period there was growth of around something special each time. Each because Barbora is an ambassador for the 30% on Instagram. This is something we of her music videos come with company. She is using a Nokia device as an were really happy with. some special feature. influencer for the brand. Other actors in the The main way this was achieved was by video also had the Nokia devices. connecting all the influencers. If you connect A wider media push We had other brand partners, including all of the different audiences, you get a lot LK: There was a lot of promotion around Mattoni mineral water as well as fashion of reach. That reach was reflected in her lifestyle magazines and cover features in brand Lindex with some of the actors in the numbers on Instagram. the most widely read women’s magazines. video wearing the retailer’s clothes. They The day after the live stream, Barbora There was also a lot of music media worked as product placement in the video. posted a photo of all the actors and all coverage such as interviews and reviews. the influencers together at the airport after Generally the reviews were very positive. Building the audience steadily the shoot. She tagged the most important There was a lot of campaign activity on and extending the content from influencers and the main message was her social media like Instagram. the live stream thanking all the technical support and the The release of the album in March was MK: We could see from her social numbers actors involved in the video. followed by a concert tour during March, that the audience was growing from the first The campaign didn’t end with the live April and May. She was appearing a lot on live stream. She was posting on a regular stream. Two weeks after the campaign, they TV in the Czech Republic and was doing basis– sometimes several posts a day. were still posting making-of content and the famous talk shows here. It was a mix The interest of the audience was videos from the campaign. of traditional media and lifestyle media – increasing from the first day. When the live In the two weeks after the live stream, as well as social media. The campaign is coming to an end and will be followed up with more touring in 2019. :)

they were working on her official video made from the live streams from all of the influencers involved. Everyone who was shooting and recording that day at the airport during the live stream downloaded all the material and in the two weeks that followed they cut a regular promotional video. It was not HD or 4K resolution because it was from a live stream. But that didn’t WANT TO FEATURE IN matter as it was part of the campaign. That BEHIND THE CAMPAIGN? official video was released two weeks after Marketing people: do you have a campaign you are working the live stream. on that you would like to see featured in Behind The Campaign sandbox They gave the premiere of the final video in a future edition of ? If so, send a brief synopsis of on YouTube. That marked the end of this it to Eamonn Forde for consideration and your work (and your campaign. The whole thing lasted around words) could appear here. five weeks. Email: [email protected]

12 | sandbox | ISSUE 220 | 23.01.2019 ABOUTSANDBOX

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