05 Tools Audiosocket 06-07 Campaigns Selfie, Iggy Azalea, Damon Albarn, Garth Brooks 08-11 Behind The Campaign Romeo Santos
JULY 30 2014 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 114
tag team Shazam’s marketing prowess COVERFEATURE TAG TEAM: Shazam’s marketing prowess Shazam is much more than just a way of identifying tracks and maybe clicking f you want an example of how big through to purchase them. As it has Shazam has become you can look Ibeyond its 93m monthly active users evolved from a service using a 2580 and 475m total userbase to the simple shortcode a decade ago into a highly fact that – much like Hoover before it and Google now – the company’s name has flexible smartphone app, how it works entered the lexicon as a popular verb. In with artists and labels has come on in fact, in 2014 the idea of saying anything other than “I’ll Shazam that” when using leaps and bounds. Advertising is one your mobile to identify an unknown track component and editorial and competitions sounds faintly ludicrous. offer increasingly powerful strings to its For labels, too, Shazam has become incredibly important, largely driven by the bow. But it is in dissecting and harnessing popularity of its charts, which are a key Big Data that it is really coming into its point of reference for media partners. Radio 1’s head of music George own – a fact only underscored by the Ergatoudis even told Record Of The Day recent move by Warner Music to use it as earlier this year that Shazam was “the a real-time A&R tool. most reliable new data source of recent times” in the market. “It’s a genuinely useful measure of audience passion and we trust the data at the top end of the chart as the user numbers are now in the multiple thousands,” he added.
Beyond the tag: getting the most out of Shazam in marketing No wonder, then, that labels are so keen to drive Shazam tags and appear on the service’s various run downs. But the
2 | sandbox | ISSUE 114 | 30.07.14 COVERFEATURE flip side to this devotion is that labels and examples. Warner, meanwhile, has musicians may be missing out on other promised to provide Shazam “with ways in which Shazam can be used for exclusive content and other benefits to promotion. augment the user experience”. With this in mind, we spoke to Will “This area of the business has ramped Mills, Shazam’s VP of music & content, to substantially with Shazam Sessions from find out how labels, artists and managers Clean Bandit, George Ezra, Magic, Nico & can work with Shazam to promote their Vinz, Rixton and Passenger in the last few music in 2014 and beyond. months alone,” Mills says. “Plus there are The most obvious point – and, to exclusive video interviews from artists be fair, something labels have already such as Ed Sheeran, Charli XCX, Jamie N largely cottoned onto – is plain old Commons and many more.” advertising. Shazam ads can be as simple For Shazam, this content will as a clickable banner or as involved as a entice users to spend longer Listening Screen Takeover, an initiative in the app. For labels, it means launched in 2010 that allows advertisers additional exposure for artists to “own” the Shazam listening screen to the social network, the company can importantly, the redesign offered “direct among the thousands of people while a song is being identified. When service adverts through Facebook. access to the music video and additional who have Shazamed their songs, the tag result is then displayed on the videos related to a song”. driving awareness, downloads next screen, the advert becomes an The growing power of and streams. What’s more, the fact expandable, interactive banner. editorial Label partnerships that this initiative is relatively recent “Shazam is a logical place to promote means that Shazam is open to new ideas. your music, to target people who have Shazam is also increasingly creating Shazam has already premiered videos “If you are a new artist with a Shazamed your artist but also [to serve its own editorial content, following the for both Chromeo’s ‘Come Alive’ and compelling piece of content, we can push up] similar sounding acts,” Mills says. launch of a redesigned app in February Wiz Khalifa’s ‘We Dem Boyz’ as part of that out to people who have Shazamed On the one hand, Mills explains that a with News Feed. At the time, the company a wider strategic alliance with Warner your music,” says Mills. “It is a very new, large percentage of people who have said the idea was to make Shazam Music Group that included the launch of fluid space. We are open to ideas if they Shazamed your music will be new fans “the beginning of the journey, a Shazam-branded label and a “highly are interesting.” and therefore very important to reach not the end – whether people are integrated” marketing relationship (see out to. But Shazam advertising can interested in music, TV shows or box). also be used to target similar brands”, essentially encouraging users The mention of “additional videos” sounding, and typically more to spend more time in the app, rather should not be overlooked, however; these successful, acts. than just quickly using it to identify songs. editorial changes means Shazam now “We have labels coming in who have “We want to be an app that people needs its own unique video content – got a budget and a lot of the time they open a lot more,” adds Mills. “You know and labels and artists are in the perfect are targeting banners around similar that when you open Shazam there will be position to provide it. acts,” Mills adds. “For example, a lot something interesting and relevant for This content can take a number of of rock bands want to target their ads you.” forms, from footage of Nico & Vinz around the 1975 [and other rock] bands On a musical level, editorial changes performing at the company’s offices in that have broken.” Shazam also offers include the addition of song lyrics when New York and London to Ed Sheeran off-network targeting on Facebook, so tracks are identified as well as improved filming an exclusive video message if a Shazam user connects their account biographies and discographies. More for Shazam users, to take two recent
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recent examples of that.” downloads decline and streams become Promotions and Competitions can even extend to an ever-more-important, not to mention competitions serious data-based initiatives that shape chart-worthy, part of the recorded music the artist’s promotional schedule, as business. Competitions are another intriguing was the case with a recent Demi Lovato This could make things rather more way that labels can use Shazam to promotion. In this, fans were encouraged complicated. Shazam has click-to-buy promote their artists, Mills explains. to tag the singer’s Neon Lights single, links with iTunes and Amazon within its “These [competitions] have been very with the data from these tags helping to app, meaning the conversion from tagging popular with Shazam to win such determine which cities Lovato played on a song to monetising it is very simple (i.e. experiences as flying to New York to meet her European tour. tag and buy). But streaming music is less Ellie Goulding, partying with Pitbull in about one simple purchase decision and Vegas on NYE, to more esoteric prizes, Big data and driving sales more to do with consumers returning such as winning the deformed arm prop as well as repeated streams time and again to a song (effectively from a Franz Ferdinand video,” he says. tag and stream and stream and stream “Content-based promotions such as It is an example that not only shows is typically associated with); it also again). offering a free remix or DJ mix also work how a Shazam promotion can work for illustrates the importance of Shazam data Shazam has number of streaming well, with Rudimental, Chris Malinchak musical stars (as well as the upfront for the promotional process (A&R too, partners in place, depending on the and Goldfish’s Organic House being dance and hip-hop acts that the service although that’s a whole different story). territory (Deezer and Rdio in the UK), and Data can, of course, come from recently agreed a partnership with Rdio hundreds of different sources in the that allows full-song playback within digital music sphere but – in collecting its app (previously users could tap a WARNER MUSIC GROUP AND SHAZAM data from people who have actively button to play a song within the relevant reached for their phones in response streaming service’s app). Mills doesn’t In February Warner Music announced “We are also eager to use our deep to a tune – Shazam can pretty much say it but the press release announcing plans for a Shazam-branded label data and advanced promotional guarantee that its numbers comes from the Rdio deal earlier this month referred within WMG and “enhanced solutions combined with exclusive engaged music fans as opposed to those to “full song playback, currently powered marketing” for Warner acts. content from WMG to help artists who might casually follow an artist on by Rdio”, leaving the door open to other engage with their fans and sell more Twitter. in-app streaming partners – an intriguing Shazam CEO Rich Riley called the music.” “Getting your phone out to thought for the future. deal a “next-generation partnership”, Shazam a song is a very unique “Streaming used to be hinting at the directions in which the As well as the Chromeo and Wiz collaboration could go. “Every minute Kalifa video premieres mentioned data point and one that shows a primarily about discovery, but of the day, people around the world above, Bruno Mars was one of the first higher level of engagement than, now is obviously more important Shazam over 10,000 songs, giving us Warner acts to benefit from Shazam’s say, a web click,” says Mills. “To be directly to monetisation and, of incredible insight into what songs are marketing nous. Fans who Shazamed able, as a marketer, to reach people course, chart placings in various trending and allowing us to discover Mars during his appearance at the who’ve actively done this to engage with territories,” Mills concludes. “Most future hits. Combining Shazam’s 2014 Super Bowl Halftime show were your artist music is highly valuable to marketing with us is still focused on à proprietary data with WMG’s A&R offered an exclusive video from the maximise a digital marketing budget.” la carte as the multiple of streams you expertise will yield fantastic results,” artist “to expand Bruno’s engagement This use of data, then, is likely to play need to equal one download are large. he said. with his fans”. a role in Shazam’s future as a marketing However, for breaking artists and new partner for labels. Also set to change in songs, things could shift for sure towards the near future is the connection between this in the future.” :) Shazam, streaming services and labels, as
4 | sandbox | ISSUE 114 | 30.07.14 TOOLS AUDIOSOCKET
Rights infringements have been a use, geography etc.) December and Audiosocket is now bugbear of the music industry for a ingrained into the approaching interested parties to take long time. The launch of LicenseID by track. part in a beta program. Once complete, Audiosocket could be an interesting new This makes they hope to launch this platform to the tool to ease the process of licensing a licence both public by the end of Q1 next year. tracks while tracking and flagging any trackable and digitally There also needs to be work done abuse or misuse. authenticated. If it is in partnership with platforms’ DMCA misused, the licensee systems such as Content ID to join up to Audiosocket is a licensing company can be contacted and create a full system – a hybrid of both. with headquarters in Seattle and New asked to upgrade For example, someone singing a cover of Orleans and its core business is offering a by paying the right a track and uploading it to YouTube would search-friendly catalogue of pre-cleared amount for its use. not be tracked by LicenseID. And YouTube music from emerging artists and selling Audiosocket believes still needs to have clearer guidelines on small-to-medium-scale licences for many of these misuses what happens to those millions of UG instant use (everything outside of TV are due to a lack of videos. and big ad syncs). Being in the business awareness about But why would the likes of YouTube of licensing, it has often found that the copyrights, so they have not been issuing Looking to the future, the vision invest more funds into rights protection wrong type of licence is used (knowingly penalties or slapping wrists. When would be for LicenseID to be used when they feel they already do more or not). Users might purchase a cheap tested for a few months on their own across as many platforms as possible: than is required by law? Any effort in personal licence and use it for online catalogue they found 10% of their web iTunes, SoundCloud, YouTube and so this direction helps their relationship advertising campaigns; or the reverse licences were misused to the value of on. In addition, the basic information with rights owners – many of whom could happen whereby a licensee could $200k in infringements. However, once should be embedded at the point when are currently dissatisfied and looking find a claim made against their YouTube the infringers were contacted and asked a producer delivers the master track to at alternatives. It may also increase the videos that contained a rightfully cleared to upgrade, 75% of them did so within 30 the rightsowner – a type of “copyright perceived quality of their advertising track. days. birthmark”. All this information could products. As for iTunes and the others? Audiosocket sought to find a way This is a very exciting new piece of then be stored in a library in the cloud Platforms selling downloads should of embedding licensing information software but the keen-eyed will spot lots and if information was changed those benefit from tighter controls over the into a song that could not be stripped of gaps. Firstly how does Audiosocket changes would be tracked. transfer of illegal content. The same could or changed – like metadata often can have information about the licensee? Audiosocket is also speaking to be said about streaming platforms who be. Hence the birth of LicenseID – a To download a demo of the track, a user partners so that this not only is tracked cannot offer UGC to their users. software that allows information to needs to create an account and provide online but also across broadcasting The pilot program is a free trial for be embedded in a WAV form so that basic information. How about if the track channels. This could then mean that three months while Audiosocket tests and it cannot be removed, just like a drum was sent to a user by someone else? The LicenseID could help PROs gather cue builds up the platform – which currently track. Upon every download from the person who sent it would be tracked. sheets. has 110 music catalogues and 600k system the track has the licensor, the What if a user got it from another source There are many possible applications, tracks. For more info, contact: licensee and the licence information (type such as buying the track on iTunes or but what is happening right now? The [email protected] of licence, duration of licence, nature of illegally downloading it? internal test pilot was launched last :)
5 | sandbox | ISSUE 114 | 30.07.14 CAMPAIGNS The latest projects from the digital marketing arena SELFIE THE ALBUM IS ACTUALLY HAPPENING IGGY AZALEA’S ‘BLACK WIDOW’ FOR FAN LYRIC COMPETITION
partnerships with We Iggy Azalea’s new single, ‘Black Widow’ around a new single – and usage of them Make Awesome Sh (featuring Rita Ora), is at the centre of a has grown extensively, either as a track’s and its AwesomeWall. new fan-generated lyric video contest. main video or as a “holding” video to When Sandbox talked To enter the competition, fans will have spark up viral interest ahead of the big to Nick Moxham, head to include one line of the lyrics from the budget video. Creating a competition with of digital at Universal single and either design an image or fan engagement can also help generate Music TV, last week, simply take a snapshot of themselves momentum around a single release. This the marketing was and tweet the results to Azalea’s competition is, however, not connected yet to really kick off, management company, Turn First Artists. to raising Iggy’s artist profile on Twitter but initial numbers The competition is open for entries until as the posts are being sent directly to her showed a 32% 4th August. management company and no dedicated conversion rate on the hashtag exists. Perhaps it opens a The digital times in which we live are awash app and a 3.1% conversion rate to retail. The initial post has had high engagement gateway for introducing other artists with YOLOs, hashtags and LOLs so it’s With the growth of streaming services, compared to Iggy’s other posts on the from the management company to Iggy’s somewhat inevitable that some of these playlists are increasingly seen as a new album platform, with 569 shares and almost existing fanbase. neologisms will slip free of the internet and format (or, depending on who you speak to, 35,000 likes on Facebook. The single itself will most likely enter at enter the actual world. So now behold Selfie the new radio) as well as being essential in Lyric videos are a relatively low-cost a high chart position as previous single the album – it’s real and it’s coming out music discovery. Moxham says, however, that but effective way of raising awareness ‘Fancy’ which reached #1 on the Billboard on 24th August. Throw your ironic trucker these compilations albums have an important Hot 100 and stayed there for cap in the air in celebration/run to the hills curation role in today’s music landscape, seven consecutive weeks. screaming in despair for humanity [delete as especially for casual music fans. “The Azalea is also nominated for applicable]. compilations market is in growth unlike much seven MTV Music Awards and of the rest of the music market,” he says. “Their is set to host the MTV House Of The compilation album includes songs by strength is their ability to help casual music Style show from August. Swedish House Mafia, Disclosure and, of fans make sense of the vast catalogues on the course, The Chainsmokers’ title track that digital services – from a new music discovery ultimately inspired it all. perspective as well as a deeper catalogue The album is accompanied by a marketing perspective.” campaign that takes advantage of the collective narcissism that is currently smeared Now we only have across social media profiles. By taking a selfie to wait for the and posting it on Twitter or Instagram with the amazing Songs hashtag #selfiethealbum, the best 100 photos To Twerk To have the chance to appear on the album cover. compilation – but The competition is open until 17th August and first let us take has a dedicated website that was created in that selfie…
6 | sandbox | ISSUE 114 | 30.07.14 CAMPAIGNS The latest projects from the digital marketing arena EVERYDAY ROBOTS GETS A DEDICATED WEB APP GARTH BROOKS IS GOING DIGITAL – ALONE
After a recent standoff with Dublin City demographic, get used to digital formats, Council over what were supposed to be artists must adapt to consumer needs his comeback gigs (rather than reduce and expectations. D2C platforms have, his Irish shows from five to three, he however, become increasingly popular as cancelled them all), country singer Garth musicians are taking more artistic control Brooks is finally breaking his digital as well as valuing the direct contact with embargo by making his new album and fans. catalogue available online. Streaming services and giant retailers like iTunes Given Brooks’ massive popularity, this are, however, still being left out as his move is sure to keep both the young and music will be available exclusively on older demographics happy and will most garthbrooks.com in the coming weeks. likely drive more traffic directly to his Damon Albarn has released a dedicated web website. It remains to be seen if he will app that collates and aggregates content After famous digital holdouts The Beatles eventually give in and license to third- around his Everyday Robots solo album. The and AC/DC finally sealed their iTunes party streaming and download services. dedicated website, everydayrobotsapp.com, deals back in, respectively, 2010 and 2012, is available on mobile, tablet and web and it Brooks is finally following suit – but on his combines all the content around the album own terms. As more users, even the older in a grid-based interface that allows the user to explore the content easily by clicking on a section. The randomised grid system includes a variety of song lyrics, album reviews, interviews and live performances. Within just a few days, the site has gained For the superfan as well as the casual fan, tens of thousands of unique visitors with the interface is easy to understand and offers a dwell-time of five minutes or more. The a quicker way to access content around the web app provides an opportunity to build Everyday Robots album. a closer relationship with fans without any direct interaction needed – as well as offering “The idea of the grid UI came from wishing to specialised and attractive content to them. create ‘serendipity’ for the user, or an ‘explorer’ With all the various platforms currently concept, for them to be able to scroll around the available it can be difficult for fans to keep up grid – beyond the visible view – and discover on all the information; therefore platforms like content in different categorisations but not this can offer a way to explore in-depth content necessarily in a linear narrative,” says Josh as well as keeping data and traffic targeted Saunders, head of technical & creative (UK towards one site. digital) at Warner Music.
7 | sandbox | ISSUE 114 | 30.07.14 BEHIND THE CAMPAIGN Romeo Santos BEHIND THE CAMPAIGNROMEO SANTOS
Romeo Santos was a founding member of bachata group Establishing him as a solo act Aventura in 1994 and released his first solo album, Formula Romeo Santos was the lead singer of Vol. 1, in 2011. His second album, Formula Vol. 2, was a very popular band called Aventura. They released in February this year and quickly surpassed sales are the group that broke bachata ¬– the of his debut. Here JUAN PAZ, senior director of digital genre from the Dominican Republic – strategy & marketing at Sony Music Entertainment (US globally. He then became a solo act and Latin), explains why YouTube and Instagram have proven released the Formula Vol. 1 album on to be his most powerful outlets and how a tightly packed Sony in 2011, which was very successful. Digital Day across a variety of platforms resulted in the The expectation for Formula Vol. 2 was biggest selling Latin album since 2006. huge because the numbers we had from the previous one were amazing.
Prioritising his social channels and striking a balance between sales posts and organic posts YouTube has played a big role in his success. The video for ‘Propuesta Indecente’ has 350m views after 10 months. That was the first thing we did for this album. There were lots of people sharing the video. He has a huge social media reach. He has 23.6m likes on Facebook and 2.3m followers on Twitter. Instagram is becoming very important in the US – not just for Romeo but also for all of our artists. We try to show [pictures of] his face on there as much as we can [as that is what fans react to best], but we might only do one post a day or a couple of posts a week. The network where he is most active is Facebook. He is not very active on Twitter – it’s more about announcing stuff there – but he now has 2.3m followers. We share management of his social channels [with him] but we can post anything without his approval. For us it wasn’t just about Facebook; it was about the whole social media landscape. We are selective about what content we post. Because we have so
9 | sandbox | ISSUE 114 | 30.07.14 BEHIND THE CAMPAIGNROMEO SANTOS many digital accounts – Google, Spotify, It is more East Coast than iTunes, Vevo and so on – we don’t want West Coast as that is where it to be pushy messages like “Listen to [most of] his fans are. my single here” or “Download my album In Latin America we try here”. and coordinate with all the On Twitter we did a tweet-to-unlock different countries in the campaign to reveal all the collaborators region – Mexico, Colombia, – like Nicki Minaj, Drake, Marc Anthony Argentina, Chile – the places and Tego Calderón – who were on the where bachata is becoming album as well as revealing the album popular. But the bulk of the name and artwork. There were 86k campaign was in the US. interactions within the first three hours It was the best selling Latin of the campaign. We also trended globally album in the US in the past on Twitter. eight years. He recently got We created a planning spreadsheet to make four platinum discs here for sure we had a good balance between organic 400k sales. posts and sales-related posts. We tried He is very active in to favour the organic posts over the sales the US and there is a lot posts as we know the sales posts are not as happening here. He is engaging as the organic ones. now crossing over in other countries. He recently Defining his key markets played in Madrid to 30k fans and has also and we had to please fans everywhere. We concentrated on the Latino played in the UK and Italy. He is a Latin That is the beauty of digital. No matter markets in the US – New York, Florida, artist who is crossing over very fast. where you are, you can have people California, Chicago and a little bit of Texas. We knew we had a global superstar engaging from multiple countries. His album was #1 on the Latin chart in we tried to make it very visible so that its first week with 84k sales and went into when you were clicking from an Android the top 5 overall album chart on release device you were being directed to Google STATS week. It was the biggest Latin release Play and if you were clicking from an iOS since 2006. His debut album sold well but device you were being sent directly to this one has surpassed that. 2.3m iTunes. Twitter In our advertising campaign we put Determining the digital sales and streaming followers a lot of effort into driving people to the partners Google Play store. He reached #2 in In the US, iTunes is the main digital 23.6m the overall chart on Google Play. One partner but also Spotify played an Facebook Likes of our objectives in this campaign was important part in the campaign. We to increase the visibility of Google Play wanted to maximise Google Play as we for Android users. Google Play was the know the bulk of Romeo’s fans are on 803k second account for us after iTunes. Android. Knowing we had such a big Instagram Historically in a Latin music release, Android-driven fanbase meant we had to followers physical sales are very important. But in work together with Google. With Google this case, this was one of the first projects
10 | sandbox | ISSUE 114 | 30.07.14 BEHIND THE CAMPAIGNROMEO SANTOS where we had a 50/50 split in the first He sat for nine week between digital and physical. For a hours in front of a Latin release, that is not the usual case. computer answering It shows how this market is evolving into questions from fans. a very digitally driven one. Typically a Having this one-to- Latin release would be 70% physical and one interaction for a 30% digital for the first week. This shows major artist is rare. a change in the consumption patterns They don’t have the in the wider Latin music market and we ability to talk to fans think this indicates the way other Latin very often. releases will go from now on. We had 700k interactions between Attracting new fans via The Golden Crown comments, retweets competition and a dedicated Digital Day and so on. There The Golden Crown was a strategy to were close to 30m capture information from CD buyers. impressions. That’s We had an insert with the CDs and fans huge for nine hours could enter an online competition. The of activity. He also prize was to come to a party he was did a 30-minute Google Hangout and we hosting in Miami and meet him. We also managed to get 13,000 viewers from 67 gave away Sony headphones and signed countries. memorabilia. We managed to get 10k The way we planned the day was emails out of this campaign. all about maximising exposure. We Instead of setting up a press junket put the agenda together based on how and having him in front big each partner’s social footprint was of journalists, we decided and knowing that it made sense for his we would connect him to audience. his fans directly. So we To promote it, we built a dedicated came up with the idea of a website that had his schedule for the day Digital Day where he was and all the interactions from fans were in a suite in Manhattan fed there automatically. The main driver and we did takeovers with was from social media. He announced different media outlets the different partnerships as they were and digital partners. We happening on his Facebook, Twitter and WANT TO FEATURE IN did one every hour for nine Instagram. All the partners on the day BEHIND THE CAMPAIGN? hours. We had activities played their role in promoting it. Marketing people: do you have a campaign you are with Vevo, Google, People When we did the Digital Day we working on that you would like to see featured in Behind En Español [the Spanish captured a lot of new fans. There were The Campaign in a future edition of sandbox? If so, send language version of People over 300k new fans on Facebook, Twitter a brief synopsis of it to Eamonn Forde for consideration magazine], Terra [a major and Instagram just during the day, and your work (and your words) could appear here. Latin network] and a all from people looking at what was Email: [email protected] Soundrop chat on Spotify. happening and just liking it. :)
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