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DECEMBER 16 2015 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 147

THE YEAR’s BEST MUSIC MARKETING CAMPAIGNS SANDBOX 2015 SURVEY digital initiatives. Tapping into the core of his songs for listening to music and also making use of (namely the lyrics) and letting fans of all ages scarcity that can be so valuable for fans (as we’ve experience the creation of his triptych of hugely seen, for example, with Wu-Tang Clan’s various influential from 1965/66 proved thrilling. tactics during the year).

PAGE 07 / Bring Me The Horizon PAGE 12 / Iron Maiden An interactive jukebox on truly captured the An excellent way of building up excitement for attention of millions, helping put the band on the the campaign ahead of release. A fun game radar of a completely new audience. alongside a YouTube activation captured an audience that perhaps interacts PAGE 08 / Disclosure with the band in a different way than A one-stop hub to gather all the its older audience. This campaign thE year’s best music information around the worldwide release managed to entice different of their second , it showed a drive demographics equally. marketing campaigns for fans to tap into reviewing the album and elcome to our end Contents organically spreading awareness about it. PAGE 13 / j.viewz sandbox Invite your fans to become part of the recording of year PAGE 04 / Asian Dub Foundation PAGE 09 / Fifth Harmony process and they will feel part of the overall project Wwhere we A great way of making the most Great proof of a campaign that used a young and album. This will make them more likely to not present the best music of Spotify as a collaborative international and -first fanbase to make only talk about the album with other people but marketing campaigns social platform to entice fans the most of organic word of mouth. This, alongside possibly also put down some money on it. of 2015. This year we’ve and create enough anticipation good partnerships, secured a successful launch had such an overwhelming ahead of an album. number of submissions that into a somewhat unknown territory for the band. PAGE 14 / Jess Glynne A great way of building up fan content and making it’s been an incredibly tough job to PAGE 05 / Avicii PAGE 10 / Frank Carter & The Rattlesnakes it a happening as well as optimising formats like whittle them down to the 29 you will A captivating, simple and engaging way Make use of your artists’ creative initiatives; if advertising and to great find in this issue. The campaigns are of making the most of Instagram as that turns out to be the development of a familiar advantage. listed in alphabetical order and cover well as taking advantage of free game, you’re in luck. Key to this campaign everything from massive stars all the features on the platform. The was the band’s communication across PAGE 15 / Lionel Richie way down to self-released artists. story fits the demographics socials in order to build close fan A delightful way of making the most of a talked- No matter the budget, we have perfectly and it was engagement alongside more traditional about event and excellent follow- focused on bringing you the highest genuinely creative – and all elements and use of scarcity (e.g. hand- up on from Glastonbury, with quality campaigns. A special thank you for little financial outlay. to Ed Miller and Eamonn Forde for a painted vinyl covers by Frank himself). activities enabling Richie’s back catalogue to be found again by fantastic job, not only on this issue but PAGE 06 / Bob Dylan PAGE 11 / Health existing and (more importantly) throughout the whole year. Thanks for Surprisingly, given his age, Dylan is A truly cutting-edge campaign testing new formats new audiences. reading and we’ll see you in 2016. almost always on top of innovative

2 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY

PAGE / 16 Lord Of The Mics album title, inspiring a campaign that engaged with the content in the a pop artist can branch out and reach wider A great way of finding the right demographics is as relevant to as it is to long term. demographics if they are tapped into the right and creating upsell on content that is usually classical. A great way of making a channels. free for the target demographics. This, global happening around an album. PAGE 25 / Taylor Swift Asia alongside building up a sustainable amount Even though Swift has a larger PAGE 29 / Vild $mith of data from the demographics, can ensure PAGE 21 / Mysteryland USA Festival global fanbase than most, this Making use of new apps and techniques more accurate decision-making in the future Previous apps such as these have campaign was dependant on the can sometimes really pay off. We’ve seen (the lifeblood of digital marketing). proven both successful as well as unviable. knowledge of the territory, which helped similar moves with dating apps before, but This clearly proved beneficial for the festival its success. It not only collected massive this was a fun and interactive way to make PAGE 17 / Ludovico Einaudi – the key being promising great prizes for the amounts of eCRM data but also showed the most of a well-known ‘party’ band and A classical artist can and should make use of app-based audience. how influencers in specific regions can be promote a stronger connection between the same tactics as pop acts. A well-executed key in making sure that campaigns run fans and band (as well as making the most and well-structured campaign, playing with PAGE 22 / New Order successfully. of a happening). new methods of reaching potentially new Proving that a legacy band can use innovative audiences. methods to reach a new audience alongside PAGE 26 / PAGE 30 / Whitesnake core fans as well as establishing a way of Excellent mobile-first thinking with Allowing fans to reminisce about the PAGE 18 / prolonging the album campaign. visuals that not only allowed users band’s history and playing on singer David A number of well-thought-out tactics to listen to the new songs but also Coverdale’s links to Deep Purple proved contributed to the success of this campaign PAGE 23 / One Direction creatively displayed their back judicious here. – mainly understanding the target Innovative initiatives included using catalogue while allowing fans demographics enough to be able to make ’s Street View to build up to easily put together their own PAGE 31 / Yacht wise decisions that resulted in a database a landing site for fans who wanted playlists to drive additional streams A great campaign that tapped into what of engaged fans. On top of that, the game to discover the album. A global on Spotify. everyone experiences when living in LA – has been highly successful, with impressive competition with emojis worked perfectly bad traffic – which thus ensured proper results and dwell time. to entice the 1D fans as well testing out PAGE 27 / They Might Be Giants impact for the music while reaching new , which perfectly fits the target Great grassroots marketing and updating fans. Plus this was just one part of a wider PAGE 19 / Mana demographics. techniques from the past (that have been campaign that drew on Google Maps, A great use of platforms to ensure that used previously by the band in their early BuzzFeed and the annotations on Genius. awareness is raised around tour dates, while PAGE 24 / Steve days) by utilising new formats such as making the most of the most engaged fans The importance of messaging apps has Drip.fm to drive and gather fans to a PAGE 32 / Years & Years (which can prove particularly important for been talked about for some time now dedicated website. Alongside all the other cool elements of bands that are trying to establish a foothold and this campaign, by focusing this campaign, the interactive TV ad was in new markets). purely on mobile signups, was PAGE 28 / Tove Styrke genuinely daring and innovative. Credit also very interesting and could prove Great use of a YouTuber that ties in to the Polydor team for playing with newer PAGE 20 / Max Richter valuable, as the audience who nicely with the associated game. It platforms like Snapchat to reach the right This campaign really made the most of the sign up will be more naturally was a strong campaign that proves demographics.

3 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY ASIAN DUB FOUNDATION BELIEVE REC.

TEAM MEMBERS ASIAN INVOLVED DUB James Farrelly – head of trade marketing, Believe Digital

OVERVIEW OF CAMPAIGN As More Signal More Noise was the CAMPAIGN BREAKDOWN band’s first album in a number of years, we wanted to develop a strategy that CAMPAIGN BUDGET £0–£500 would engage existing fans and also bring potential fans into the fold. AUDIENCE DEMOGRAPHIC - GENDER We also knew that Asian Dub Female - 20% / Male - 80% Foundation had a fanbase which may be slightly older and may not have adopted AUDIENCE DEMOGRAPHIC - AGE 25–44 streaming as their chosen method of music consumption; so we wanted to AUDIENCE DEMOGRAPHIC - LOCATION create something that would act as a UK ‘companion’ to the album – regardless of whether the fan bought a physical copy, LINKS AND EXTRA INFO downloaded it or streamed it. More Signal More Noise Asian Dub Foundation created a http://moresignalmorenoise.pushexp.com/welcome/ playlist of white noise, chants and radio static on Spotify. We asked fans to like, share and follow RESULTS & ; the more of these activities they did, the faster the ‘noise’ tracks KEY LEARNINGS would be replaced, one by one, to reveal The Believe Digital marketing team also set up social shares new and exclusive content such as track around the launch and throughout the campaign, which helped talks, album tracks, remixes and live fans to hear about the campaign in the first place. But because performances. of the requirement for the playlist to be shared by fans, it began Eventually, by the end of the to promote itself. We were also able to secure promotion from campaign, the fans will have worked Spotify in France, Germany and Italy, ensuring additional reach together to “Break The Signal” and of the campaign. Alongside this, the campaign also triggered reveal a companion piece for Asian Dub notifications to followers of the ADF profile and the Break The Foundation’s new album. Signal playlist each time the playlist was updated.

4 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY AVICII UNIVERSAL MUSIC SWEDEN / CREATIVE LABS

TEAM MEMBERS INVOLVED

Eddie Persson CAMPAIGN BREAKDOWN Ted Criborn CAMPAIGN BUDGET £10,000 – £25,000 Christina Enestig Malin Lindvall AUDIENCE DEMOGRAPHIC - GENDER Daniel Åberg Female - 40% / Male - 60% Nils Wester Litens Philip Nyquist AUDIENCE DEMOGRAPHIC - AGE 15–30 Illustrations by: There AUDIENCE DEMOGRAPHIC - LOCATION Global

LINKS AND EXTRA INFO mouse? Do you investigate or run like hell? the story meant that we got his fans to try Short version of the campaign from our portfolio: Making choices is as simple as pressing a the story as well. The Epic Split (Of Death) http://umg-creativelabs.com/portfolio/avicii-begins/ tag, but choose wisely to win against the evil, and Brofist (Of Fury) were Easter eggs that music-hating boss. quickly became popular choices in the story. The campaign was created to promote The campaign connected 23 Instagram Avicii’s new album, , and to showcase accounts into a story where people could the wide variety of songs on the record, choose their own adventure and experience OVERVIEW OF CAMPAIGN ranging all the way from hip-hop to techno. Avicii’s new album in a unique way. But, After enslaving the human race, Dr Hush The different styles of songs were matched most importantly, the campaign helped all banned all music and brainwashed the to specific choices you could make during 14 new tracks on the album to the top 100 population into mindless zombies. You are the story and they were played as the on Spotify Avicii and your mission is to infiltrate Dr soundtrack in the cinematic video endings. Hush’s broadcasting station to play the last This meant that every time you replayed the RESULTS & remaining song in the world to awaken the story, you could get a different ending with a KEY LEARNINGS people. new song from the album. This is the start of Avicii Begins, an The campaign received over 220,000 likes By making a campaign completely native interactive story on Instagram. From here, during the first five days and became a hot to Instagram, we made it easy for people to anything can happen, depending on which topic all over the web. An important tool to participate. It was also vital that the story choices you make. Do you go down the spread the story was the inclusion of other was fun for people that aren’t Avicii fans. The sewer to avoid detection? Or do you take famous brands and artists, like the dead campaign received over 220,000 likes during a shorter but more risky over the mouse in sewer; fans quickly the first five days with a marketing budget rooftops? What if you find a really big dead saw the resemblance and his tweet about of less than €1,000.

5 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY THE CUTTING EDGE 1965 – 1966: BOB DYLAN The Bootleg Series Vol.12 SONY COMMERCIAL – LEGACY

TEAM MEMBERS INVOLVED CAMPAIGN BREAKDOWN Jo Kalli – senior marketing manager, CAMPAIGN BUDGET £5,000–£10,000 Sony Commercial UK Frazer Lawton – senior publicist, AUDIENCE DEMOGRAPHIC - GENDER Columbia UK Female - 30% / Male - 70% Julie Sandrin – head of digital marketing, Sony Commercial UK AUDIENCE DEMOGRAPHIC - AGE 30+ Jeroen Vandermeer – senior director, marketing, Legacy US AUDIENCE DEMOGRAPHIC - LOCATION region skew OVERVIEW OF CAMPAIGN LINKS AND EXTRA INFO This year, Sony Commercial released the Evolution Of A Song – www.facebook.com/bobdylan 12th volume of Dylan’s Bootleg Series. The Studio A Revisited microsite – thecuttingedge. Cutting Edge gives a unique insight into Bob bobdylan.com/ Dylan’s creative process when recording Legacy UK – www.wearesonylegacy.com Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde between fans calling him “Judas” in . 1965 and 1966. We uncovered rare and hilarious footage On top of amazing press reviews across of fans back then, storming out of his gigs, The Guardian and Uncut, we secured a demanding their “money back” and saying media partners throughout the pre-order phase, including the ‘Visions bonus 52-page Bootleg Series book with Dylan was “prostituting himself” for going Of Johanna’ video which premiered on The Guardian for the world. the December issue of Mojo to reach out electric. Noisey and Vice premiered the fan We also supported all activity via our local Legacy UK channels, to his core traditional fanbase. Two weeks video, telling the infamous story to a new which were launched earlier this year. before release, Dylan toured the UK: we used and younger audience, which became an this opportunity to target fans going to the important focus in this campaign. RESULTS & gigs with display advertising across mobile, Columbia US collaborated with Genius to KEY LEARNINGS pinpointing their exact location around the showcase the development of classic Dylan venues. We retargeted them around the songs. Evolution Of A Song encompassed This campaign was a brilliant result, with sales in the first week release too with an “out now” message. changes in Dylan’s lyrics. The Studio A outperforming sales of the previous bootleg (which was released 1965-66 was a turning point in Dylan’s Revisited microsite allowed fans to play last year) by 17%. This was also due to a great retail campaign. We career: his UK tour included an acoustic set, with the studio stems that make up ‘Like A gave HMV an exclusive limited-edition 7” single; fans who bought it followed by an electric set. This transition ’. A listening session timeline were given a £2 discount on The Cutting Edge. was also a has become one of the most famous tours gave inside stories behind these sessions of Dylan’s sound in 1965 and 1966. Pseudo great support and we also secured a Kindle wake screen campaign, in rock ‘n’ roll history, culminating with and a Spotify playlist retraced the evolution videos and rare footage were unveiled with targeting previous buyers of Dylan products on Amazon.

6 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY BRING ME THE HORIZON RCA

TEAM MEMBERS INVOLVED CAMPAIGN BREAKDOWN Louise Adams CAMPAIGN BUDGET £10,000 – £25,000 Phil Birch Chris Dashwood AUDIENCE DEMOGRAPHIC - GENDER Tom Greenlees Female - 46% / Male - 54%

OVERVIEW OF CAMPAIGN AUDIENCE DEMOGRAPHIC - AGE 16-24 We wanted to create a unique Spotify AUDIENCE DEMOGRAPHIC - LOCATION activation in order to build awareness for the UK release of That’s The Spirit as well as deliver a significant number of streams of all tracks LINKS AND EXTRA INFO of the album by introducing BMTH to an Official website: www.bmthofficial.com entirely new audience. We worked directly with the band to create distorted clips of all the tracks from the album, including those that hadn’t yet been released as a single. Then, eight days before the release of new album, we released the distorted clips of new songs on Spotify. weeks to 645,000 followers This was supported by a homepage RESULTS & takeover creative unit through which KEY LEARNINGS Homepage takeover fans could explore each of the distorted l HPTO was seen almost 2m times clips from the album and then follow the Social posts promoting the listing of each l Over 1.3m interactions official BMTH That’s The Spirit playlist. On new clip: l Average dwell time over five minutes 11th September, the homepage unit was l 46,500 Facebook Likes and shared by over l Unique page view engagement rate at 17% turned into an interactive jukebox. This 3,500 people, giving a total reach of 2.2m with 196,209 of 1,160,678 unique page views was a first-of-its kind execution within the l Twitter drove over 140,000 engagements resulting in an interaction Album release platform and which delivered a brilliant and 9,700 URL clicks from 1.3m impressions l 4.7% of these interaction views resulted in l It was the most streamed new released album (globally) on the level of engagement. l Daily streams were up an average of 61% a click through to the singular CTA goal week of release Initial results were outstanding; an with over 500,000 streams per day l Overall conversion rate of 0.45% – banner l In the first two weeks of release, it was streamed over 15m times increase in their playlist following by 116% l That’s The Spirit playlist followers grew by displays resulting in a click to the CTA. on Spotify and the most streamed new release globally 116% in two weeks l 2.6m streams in one day l Entered the global top 100 most streamed artists chart at #19 across Spotify during the week of release. l Spotify followers grew by over 50,000 in 3 l Entered global Spotify album charts at #9 l Huge online press coverage

7 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY DISCLOSURE ISLAND RECORDS UK CAMPAIGN BREAKDOWN CAMPAIGN BUDGET £10,000 – £25,000 TEAM MEMBERS Twitter. The also created INVOLVED Heat Map Digital AUDIENCE DEMOGRAPHIC - AGE 18–34 showed the Projections of Angela Grech – marketing, Island Records most engaged the Heat Map in AUDIENCE DEMOGRAPHIC - LOCATION Glenn Cooper – senior marketing director, Disclosure- the seven major Global, focusing on major cities, including Auckland, Island Records related cities around Sydney, London, New York, Chicago, LA, Mexico City Faye Williams – digital marketing, tweets from the world, Island Records around the giving fans the LINKS AND EXTRA INFO Mattie Bennett – digital marketing, UMGI world as they opportunity Twitter – http://twitter.com/TwitterMusicUK/ Tom MacPherson – international marketing, happened on to have their status/650010020583632896 UMGI an interactive album-related map – from sunrise in New Zealand until tweets featured globally. Facebook – http://www.facebook.com/disclosureuk/ OVERVIEW OF CAMPAIGN midnight in LA. The map featured tweets videos/1058944860805772 from fans, bloggers, DJs, journalists and RESULTS & album collaborators including: Lorde, KEY LEARNINGS “It is incredible to see Twitter at the heart of Disclosure’s Sam Smith, Gregory Porter, The Weeknd, global release of their second album. We see fans Miguel, Lion Babe, Nao, Brendan Reilly, By encouraging fans to get involved in the using Twitter every day to follow their passions, and Jordan Rakei, Kwabs, and conversation about the album during the this couldn’t be more true than with music. The digital throughout the day and night launch weekend (Friday 25th September projections of the map are a hugely exciting moment across the globe. through to Sunday 27th September), for the band’s followers around the world. It’s not every There was a team at Universal we saw 69.2k Disclosure- and Caracal- day the impact of their support on the band’s journey Australia, Island Records UK, Capitol US related global tweets, with 51.3k of is visualised to such a massive public audience through and Twitter manning the Map around these being unique. The estimated global Twitter” – Georgina Parnell, head of entertainment the clock, selecting the most engaging impressions/views for Disclosure/Caracal partnerships tweets to feature. Fans got involved album tweets during these days was by tweeting about the album, including 583m. The main headline from Twitter “Following on from the global success that Disclosure reviews, comments about their favourite was “5x increase on views of tweets from achieved with Settle, we wanted to engage fans, tracks and where they Disclosure on album bloggers and collaborators around the world to share were hearing the album release date (25th their thoughts on the Caracal album as they heard it for the first time using September) versus the for the first time upon release. Twitter was the perfect #Caracal. daily average for the platform to partner with to bring the idea to life and To amplify the week prior to release”. we are excited to see the real time response not only To celebrate the global release of excitement and Twitter audience online, but also through digital projections in major cities Disclosure’s second album, Caracal, on take the campaign to growth increased by around the world” – Glenn Cooper, senior marketing 25th September, Island Records and the masses, Island +63% between 25th and director, Island Records Universal Music International created Records and Universal 27th compared to the a Global Heat Map in partnership with Music International previous days.

8 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY 5H GIRLS FIFTH HARMONY CAN ... SYCO/ CAMPAIGN BREAKDOWN BACKGROUND OVERVIEW OF CAMPAIGN a #3 chart debut for Phase One ‘Worth It.’ Demo – 80% female / 20% male Girlband Fifth Harmony, although huge in We saw the Age – 13-24 the US, had minimal UK awareness. We had social numbers Location – global six weeks to break the group in the UK and grow by more than Key markets – US, UK, Latin America deliver a top 5 single. 50% (particularly on Twitter) and saw Phase Two How we did it: engagement within Demo – 80% female / 20% male 1: Activate the global fanbase to engage the the UK more than Age – 13-24 UK by positioning the girls and their fans double. Location – UK as caring and inclusive. This was amplified #5HGirlsCan through partners. and #5HUKinvasion CAMPAIGN OBJECTIVES: 2: Create noise for the girls’ UK trip and achieved worldwide l Break Fifth Harmony within the UK maintain exposure. It’s not all about London, so we Twitter trends. l Secure top 5 single organised surprise meet & greets for Their performance Using #5HGirlsCan, we empowered fans fans across the UK, ones that had from the Capital DIGITAL OBJECTIVES: to celebrate individuality, to tell each other really spread the positivity message. l Grow UK social followers why they were special and to #PassItOn. The band love a selfie and Snapchat was the most l Increase UK social engagement We launched with a thank you video to so, while at the Capital Summertime viewed performance l Grow awareness outside of core fanbase fans asking them to share stories of the Ball, we let fans have more of what from the event. amazing people in their life. Each girl then they wanted – exclusive Snaps. KPIS nominated someone in their life as a “5H Engagement was high, but KEY l 50% growth in UK social numbers girl or boy who can”. with the band now out of town LEARNINGS l 100% growth in UK engagement Shots of each girl holding empowering we needed to maintain the buzz. l Minimum #1 UK and #1 global Twitter trend quotes rolled out, interspersed with quote A British-themed content plan By activating the cards, all of which were positive lyrics from rolled out and we surprised a lucky global fanbase and LINKS AND EXTRA INFO the album. We then partnered with the anti- fan with a prom takeover. In the creating a campaign Website: fifthharmonyofficial.com bullying charity Cybersmile and Sugarscape weeks following this, we brought that serviced the to help carry the positivity wider. 5HGirlsCan full circle, pulling out whole core, we were A week later, #5HInvasion launched as images and comments from fans able to leverage a countdown to their UK arrival. The highly to create artwork and recognise their excitement engaged US/Latin American fans fuelled them for their achievements and and tap into a patronising them, we created content that resonated with their core chatter whilst hyping up UK fans. UK-only sharing them across socials. dormant UK audience. values, giving us a deeper insight into what fans were really thinking content fuelled the engagement locally. Brit- Tapping into issues and feelings that and feeling. This really showed us how to best engage with them themed content rolled out and, when here, RESULTS are current to fans everywhere and making and other fanbases. From this activity, we have gained a strong the girls were filmed at iconic London spots them feel part of a warm, welcoming community of fans we continue to engage and interact with for to show their UK love. The campaign was a great success, achieving community was key. Rather than future activity.

9 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY FRANK CARTER International Death Cult / Kobalt

TEAM MEMBERS packshot videos and a filmed piece featuring INVOLVED curated Spotify playlists Frank burning the exact saw socials grow at amps from the packshot. CAMPAIGN BREAKDOWN Sam Williams – digital strategy and an impressive rate Fans were asked to CAMPAIGN BUDGET £25,000+ marketing coordinator (512% increase) and tune into the website David Emery – marketing director, UK complimented the where the footage AUDIENCE DEMOGRAPHIC - GENDER Karen Dagg – senior product manager ongoing live and radio was live streamed via Female - 25% / Male - 75% Matthew Greer – band management activity. YouTube with the album as the audio bed. Nikke Osterback – digital marketing There were several key online initiatives Simultaneously Frank was online conducting AUDIENCE DEMOGRAPHIC - AGE 18-24 consultant throughout the campaign that helped a Twitter Q&A as the pre-stream video aired, Dean Richardson – band member spread the word about The Rattlesnakes. which was embedded in the pre-stream AUDIENCE DEMOGRAPHIC - LOCATION Frank Carter – band member The band designed and coded their take viewing pane. Fans could submit their UK on the classic mobile phone game, Snake questions with the #frankhatesyou.

(aptly named Rattlesnake), which was re- OVERVIEW OF CAMPAIGN LINKS AND EXTRA INFO imagined to include an animated version RESULTS & Website: http://smarturl.it/FCTRS of Frank himself set to an 8-bit recording KEY LEARNINGS Advertising splash page: http://smarturl.it/blossomsplash of the single ‘Fangs’. The game launched Facebook: http://smarturl.it/FCTRSFacebook with a competition that gave players The key learning from this campaign was to Instagram: http://smarturl.it/FCTRSInstagram several opportunities to win a prize; this focus on the fans discovering the band and Twitter: http://smarturl.it/FCTRSTwitter was through sharing the game itself, which make them feel personally connected to the YouTube: http://smarturl.it/FrankCarterSubscribe generated a direct-to-Facebook post, by band’s journey. Frank and the band were Spotify: http://smarturl.it/FCTRSspotify showing off your score or by hitting a top incredibly engaged with their supporters, 8-bit game: http://smarturl.it/rattlesnakegame score on the scoreboard. There were 11k both online and in person. The live activity unique page views, with users spending focused on intimate venues and included The former frontman of Gallows and Pure on average over six minutes on the page. four in-store signings during release week Love, Frank Carter returned to his punk The mailing list increased by 3k directly via and performances at various indie stores regularly with top-level content and interesting initiatives, such as roots with his new band – Frank Carter & website submissions. where the band met with fans. the Rattlesnake game, and the pre-stream event created a natural The Rattlesnakes. Having officially formed As opposed to simply partnering with a In turn, the collective noise of the fan momentum that was amplified by the condensed timeline. just six months previously, debut album, site for the album pre-stream, we decided community helped strengthen our case at The personal tone of the campaign was driven directly by Blossom, was released on 14th August 2015 to create an interactive visual experience media, where there was both pre-existing Frank and the band, who were heavily involved in all the aesthetic and landed at #18 in the UK album chart and to super-serve support from elements including the artwork, videos and marketing assets. Several #1 in the UK vinyl chart. the growing Frank’s previous limited-edition, multi-coloured vinyl releases reflecting the different The band’s social media profiles were fanbase. The album bands as well as manufacture runs were put into production, including a very special used as a central hub for all campaign packshot, featuring new supporters hyper-deluxe version that was limited to 100 copies (with unique activity and became a forum for the band to guitar amps on fire coming to the covers hand-painted by Frank). This extensive and unique product personally interact with their fans. A mixture (painted by Frank), table. Channels offering took the vinyl version of the album to the top of the vinyl of beautifully shot gig footage, animated was re-created in were updated chart on week of release.

10 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY HEALTH FICTION RECORDS

TEAM MEMBERS INVOLVED Olivia Hobbs – product manager CAMPAIGN BREAKDOWN OVERVIEW OF CAMPAIGN CAMPAIGN BUDGET £0–£500

Health are pioneering a new music format AUDIENCE DEMOGRAPHIC - GENDER with the use of 3D printing and augmented Female - 30% / Male - 70% reality. Album track ‘Dark Enough’ has been transformed into a physical 3D-printed AUDIENCE DEMOGRAPHIC - AGE Largely 10-34 sculpture which is created from a sound wave that is read by a mobile app (aka the AUDIENCE DEMOGRAPHIC - LOCATION LA/London “stylus”). The idea is analogous to a vinyl record in terms of encoding and decoding LINKS AND EXTRA INFO sound onto plastic. When you hold the app Feature about the totem with full videos and over the sculpture (the totem), the screen breakdown on the creators’ project: comes to life and the song plays; it also http://tinyurl.com/creatorsproj allows you to shoot lasers at the object and move around it within the screen to see more. Reify, a brand new startup, is part of New Inc (the startup incubator RESULTS & backed by the New Museum KEY LEARNINGS in NYC) and has board members from MakerBot, The team have sold a total of 30 totems and Google and eBay. The new they should be hitting UK retailers soon. album has generated a huge There have been 164 app downloads, which amount of critical acclaim; is an average of 5.4 downloads per totem. the band’s technology-first Each user is returning to the totem an approach to the promotion average of three times. of the record has picked up a Given the small amount of totems sold, lot of attention in the world we feel that is a good result. In addition, of tech, with sites such as rips of ‘Dark Enough’ started to travel from Wired getting their hands on the app, being picked up by Stereogum and the track with the new tech. Pitchfork (before coming down).

11 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY IRON MAIDEN PARLOPHONE CAMPAIGN BREAKDOWN CAMPAIGN BUDGET £25,000+

AUDIENCE DEMOGRAPHIC - GENDER Female - 25% / Male - 75%

AUDIENCE DEMOGRAPHIC - AGE 14+ when we utilised an animated version of towards 9m). the album cover coupled with a 27-second The video is an incredible journey AUDIENCE DEMOGRAPHIC - LOCATION guitar solo, released natively to Facebook, through the history of video gaming via Global Twitter and YouTube which sent the fans the band’s mascot Eddie, which provided

into a frenzy, amassing over 1m combined the perfect set up for a web game, where LINKS AND EXTRA INFO TEAM MEMBERS views. we chose to create the Donkey Kong level http://speedoflight.ironmaiden.com/ The next music from the album to drop – which was released the week prior to the INVOLVED http://ironmaiden.com/showdown/ was the official video for ‘Speed Of Light’ on album release. https://www.youtube.com/user/ironmaiden/videos Will Beardmore – senior digital creative 14th August. We maintained engagement The game received over 250k visitors, http://www.thefwa.com/site/iron-maiden-speed-of-light producer with the fans through this period via a drove significant pre-orders of the album Paul Fletcher – head of catalogue re-launch of their official YouTube channel, and received an FWA Site Of The Day marketing, Rhino uploading 19 of award. Video the band’s most director Llexi Leon OVERVIEW OF CAMPAIGN popular videos also provided in HD for the additional insight Iron Maiden’s The Book Of Souls was their first time and into the video first studio album in five years and first encouraging via a specially ever double album. Announced mid-June fans to vote in a commissioned with just the front cover, track listing, track video tournament behind-the- lengths and of each song, via Twitter and scenes video, their global fanbase was sent into a frenzy on the band’s captivating over trying to piece together what the album website, building 150k hardcore might sound like. subscribers into fans and driving We wanted to retain as much mystery the new video our remarketing fans that pre-ordered the album the chance to be flown to by as possible around the album until people launch, which data. lead singer Bruce Dickinson to hear the album in the studio it was had it in their hands, so assets were had over 1m We also recorded in, pre-release. The album was then released hitting #1 initially limited. Pre-orders steadily built views in its first partnered with in over 24 countries across the globe, cementing the campaign as on anticipation alone until the end of July day (now heading Amazon to offer a success.

12 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY j.viewz SELF-RELEASED CAMPAIGN BREAKDOWN AUDIENCE DEMOGRAPHIC - GENDER Female - 30% / Male - 70%

AUDIENCE DEMOGRAPHIC - AGE Mostly 25–34

AUDIENCE DEMOGRAPHIC - LOCATION Mostly US

LINKS AND EXTRA INFO Website: www.jviewz.com

near-tangible visit into j.viewz’s aesthetic and acoustic world. As TEAM MEMBERS world. The New York-based indicated by the novelty of the DNA Project, j.viewz is no stranger INVOLVED , producer and visual to experimenting with the sharing and collaborative aspects of Jonathan Dagan – concept artist creates multi-layered songs music. His second album, Rivers & Homes, followed a similar Hello Monday – agency that blend raw elements with electronic buzz in digital communities. The project concept where subscribers had access to each song as soon as Marcus Fuchs – art director music through his use of analogue tapes, won the prestigious Cannes Silver Lion it was ready. Dagan designed a visual journal at the end of this Sebastian Gram – design recordings of nature and (often) sounds Award and was nominated for the Webby project, which he eventually used to make the package of the Andreas Anderskou – account supervisor sent by his audience. Awards. The award-winning website, album. In 2012, the album was nominated for the Grammy Award Andres Soenderby Jessen – director of j.viewz’s latest musical experiment is created by Hello Monday, allows for a for Best Recording Package. creative technology the DNA Project, a website presenting the Torben Dalgaard – developer step-by-step making of his next album j.viewz – content in real time. With the DNA Project, j.viewz Tomer Rabinowitz – edit invites his fans to follow his creative j.viewz – music process in its entirety, providing access to the people, places and sounds that inspire OVERVIEW OF CAMPAIGN each song, as well as exclusive videos of his writing process, recording sessions and Jonathan Dagan, known by his stage name innermost thoughts during his creation of j.viewz, is an artist who is constantly new music. pushing the boundaries in the creative The DNA Project has already generated

13 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY JESS GLYNNE

TEAM MEMBERS INVOLVED CAMPAIGN BREAKDOWN Nick Long – head of digital CAMPAIGN BUDGET £25,000 + Fiona Byers – senior marketing manager Nick Tearle – web producer AUDIENCE DEMOGRAPHIC - GENDER Domenico Bartolo – social co-ordinator Female - 60% / Male - 40%

OVERVIEW OF CAMPAIGN AUDIENCE DEMOGRAPHIC - AGE 13–25 Jess has had phenomenal chart-topping AUDIENCE DEMOGRAPHIC - LOCATION success before her debut album had even UK and key European territories been announced, so we had fantastic ambitions behind the album campaign from LINKS AND EXTRA INFO the outset. We also needed to showcase Instagram-sourced lyric video Jess’s personality and tell her story so people Site: http://jessglynne.co.uk/gavemesomething could grow to love the singer behind the hits. Video: http://tinyurl.com/glynnefb We ran several digital specific initiatives and advertising that supported the • We used multiple • We partnered Facebook video exclusive campaign at key points, they included: video and image ad with Facebook http://tinyurl.com/glynne-exclusive creatives to help to premiere her l Instagram-sourced lyric video lead casual fans emotional and very • We built a custom site where fans could into a purchase in personal video for download lines of lyrics from an unheard the three-week run ‘Take Me Home’ the world, and managed to get cameos from song from Jess’s album. The download also up to the album • The partnership Lisa Snowden and Dave Berry. included instructions on how to pass the release not only allowed • The resulting video was viewed over 3m times in its first 24 hours lyrics across the screen. • This allowed us us to massively • These fans were then encouraged to to showcase all increase our reach l Facebook 24-hour exclusive upload their videos to #GaveMeSomething the instant grat songs on the album as well but also allow Jess to present it alongside • Premiere amassed close to 4m views in first 24 hours, as well as and the best ones were edited into a full- as only targeting those users who engaged words from her about what the song means adding 26k likes to her Facebook page in a single day. length video, with Jess starting off the chain with the adverts through the “buy now” to her • It also caused a 50% uplift in streams of the track on Spotify that of fans passing lyrics to one another. creative on release was sustained for a week after the video was premiered. • This video was then premiered exclusively • We were also the first label to run RESULTS & on Jess’s Facebook page in line with the Instagram adverts using their Facebook- KEY LEARNINGS l Sequential marketing on social media track being released on iTunes & Spotify level targeting. • We saw huge jumps in engagement and reach on our adverts – the l Instagram-sourced lyric video resulting CTR on the final “buy now” advert was also well above our l Sequential marketing on social media l Facebook 24-hour video exclusive • We had over 1,000 fan entries from all over media buyers average.

14 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY LIONEL RICHIE UNIVERSAL MUSIC CATALOGUE CAMPAIGN BREAKDOWN CAMPAIGN BUDGET £10,001–25,000 TEAM MEMBERS Target Audience l New audience of INVOLVED AUDIENCE DEMOGRAPHIC - GENDER festival-goers Female - 57% / Male - 43% Katie Alley – senior digital marketing l Viewers across all manager, UMC BBC platforms was converted into an online viral campaign, AUDIENCE DEMOGRAPHIC - AGE 35+ Richard Hinkley – MD, Universal Music l Existing fanbase providing longevity to a specific moment Catalogue and engaged the guards directly for their set AUDIENCE DEMOGRAPHIC - LOCATION UK focus Sue Armstrong – senior marketing manager, Challenges highlights and playlists for Lionel Richie’s

Universal Music Catalogue l One UK performance to leverage and social channels LINKS AND EXTRA INFO Bruce Eskowitz – Red Light Management limited artist access l Personal thank you video message from http://tinyurl.com/pbttk2h Sarah Diebel – Red Light Management l Huge difference in existing fan and festival Lionel added a personal touch bringing the http://tinyurl.com/o33zlo8 Karri Northrop – Red Light Management fan demographics artist closer to fans http://tinyurl.com/posrrs6 l Re-promoting an album which has been l Video mini-mix uploaded natively to http://tinyurl.com/zr5dvmh available for 13 years Facebook, showcased existing content OVERVIEW OF CAMPAIGN http://tinyurl.com/zeo59gf l Not possible to advertise on BBC channels l Social “finish the lyric” competition, tapped http://tinyurl.com/h667hgw The Sunday afternoon slot at Glastonbury or target iPlayer viewers into existing kitsch noise https://www.youtube.com/watch?v=T_66SnlwjOA festival is one of the most coveted gigs of l Cut through the Glastonbury noise l Organic and promoted messaging http://www.bbc.co.uk/programmes/b05zyq78 the festival season. It draws a large crowd capitalised on social chatter with a focus on http://tinyurl.com/hcnwx5c who, after a weekend of festival excesses Highlights retargeting on Twitter and rock bands, crave an iconic artist they l The campaign kicked off with a l The Dream Set List Creator and poll might never normally see. This year, Lionel nationwide campaign to Get Lionel Richie to discover and celebrate fan favourites, Richie landed the spot. Glastonbury is world To Glastonbury, with media partners at the encouraged deeper engagement, a shared l First #1 album as a result of a Glastonbury Legend Slot famous, a key cultural in the BBC’s start of the year sense of appreciation performance calendar; their coverage reached 18.5m l We capitalised and put the fan in the l Physical 75k ship / OCC 62,300 people this year. on viral reaction to curator’s seat l Digital total 19,500 downloads / 3,500 streams create a successful l The Definitive Collection uplift 11,000% YOY Opportunities Identified sales driver; RESULTS & l #Lionel4Number1 trended in the UK l The Legend Slot is one of only three #Lionel4Number1 KEY LEARN- l Successful social media campaign saw CTRs in excess of 20% l Glastonbury performances broadcast in full Key PR including INGS across promoted activity l Focus on Lionel Richie’s cross- BBC One Show, Radio l 78% boost in fans social response between June and September generational appeal, re-engage existing 1 interview and Piers l #1 album – l 64k views of the mini mix (89% watching more than 30 seconds) fans and preserve his legacy by introducing Morgan’s Life Stories Lionel Richie’s first l Lionel’s personal thank you message is one of the most viewed new fans was crucial for in 23 years videos on his socials (150k views) l Magnify the hype, convert kitsch sustainment of the l 12 weeks in the l Spotify advertising, key playlist placement and a takeover of 80s appreciation into sales of The Definitive campaign top 40, the album Hits, contributed to a 70% increase in streams of the album Collection and sustain the campaign through “Dancing Security remains in the top l YOY stream increase of 442.3% to a primetime ITV interview in September. Guards” TV highlight 100 l 57% more streams of the collection during the campaign

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giving Vevo the exclusive to 20 freestyle videos and music videos associated with the compilation. CAMPAIGN BREAKDOWN We created clips for each of the videos CAMPAIGN BUDGET £2,000–£5,000 used in the campaign and drip fed these out to Facebook natively, utilising Facebook’s AUDIENCE DEMOGRAPHIC - GENDER video retargeting tool to build up an Female - 8% / Male - 92% audience of users that “viewed 95% or more” of the videos – a clear indication that the AUDIENCE DEMOGRAPHIC - AGE 18–24 (56%) user is engaged. Also, we set up the existing LOTM YouTube and new Vevo channel for AUDIENCE DEMOGRAPHIC - LOCATION retargeting. Combined, these methods gave London, Birmingham, Manchester us a large and highly targeted audience that

we were able to advertise to on release date, LINKS AND EXTRA INFO making best use of our limited budget. TEAM MEMBERS iOS app: http://tinyurl.com/lotmitunes INVOLVED There were two main reasons for building a mobile app. The first was to Android app: Robbie Semmence – digital marketing tie social media, content, competitions, http://tinyurl.com/lotmandroid manager games and sales together in one place Richard Lartey – digital marketing in the audience’s pocket. The other was Lord Of The Mics Vevo channel: coordinator the ability to communicate to our fans http://tinyurl.com/lotmvevo Adam Cardew – digital director in an instant through push notifications. Facebook’s low reach meant OVERVIEW OF CAMPAIGN the ability to reach 100% of our audience within seconds was LOTM is a UK-based series of rap battle be able to deliver messages and content to invaluable. audience has been converted to the app. videos, with an accompanying compilation. our audience at very short notice. One of the The CD/DVD compilation charted in the top 10 There were 20 artists participating in 10 difficulties we knew we’d face is that our RESULTS & of the UK chart (#9) and sold over 5,000 chart- clashes, which were released on DVD. Each audience is used to free consumption and KEY LEARNINGS registered units. Some 25% of live tickets were sold artist recorded a Hype Session video – a we needed to convert these fans to paying via the app and the quiz competition was played freestyle calling out their clash opponent customers. The Vevo channel has hit over 11,000 times by just over 2,000 users. It more in the run up to release date. Lord Of The We wanted to be able to feed out content 1.5m views since the end of than doubled the size of the existing mailing list Mics has a very young, mobile-first audience to fans in the way they are used to (free August. The app has been through the games and competitions. that tend to consume the majority of their and mobile platforms) but with the long- installed over 2,300 times. The The audience itself and their methods of content through free platforms such as term goal to monetise this and upsell the Facebook page has 12k likes consumption were identified very early on and the YouTube. The fanbase, and fans of the genre digital and CD/DVD product. Lord Of The and Twitter has 20k followers, entire campaign was tailored to accommodate this, in general, are very reactive, requiring us to Mics partnered with Vevo for the campaign, so a huge percentage of the contributing to the success of the record.

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TEAM MEMBERS INVOLVED

David Heath – senior digital marketing CAMPAIGN BREAKDOWN manager CAMPAIGN BUDGET £2,000–£5,000 Gavin Bayliss – senior marketing manager Emily Waller – digital marketing manager AUDIENCE DEMOGRAPHIC - GENDER Benedict Curran – streaming manager Female - 55% / Male - 45% Jess Simmonds – product manager Batuhan Bozkurt – developer AUDIENCE DEMOGRAPHIC - AGE OVERVIEW OF CAMPAIGN 18-34

AUDIENCE DEMOGRAPHIC - LOCATION Einaudi’s music is ubiquitous and it UK, Italy, US always seems to connect with such a broad demographic – so we wanted to do LINKS AND EXTRA INFO something extraordinary to reveal his new http://einaudielements.com album, Elements. When we talked to him http://tinyurl.com/q6pzzau about his inspirations, he cited influences http://tinyurl.com/h9flgl2 from artists, musicians, scientists and http://www.earslap.com even code breakers, which gave us a great has been done before. We gave people phone number which you could call to hear starting point and got us thinking. 24 hours to mess with it for themselves Ludovico’s answerphone message (and you A few months earlier I’d seen a site before we give them the music video so could leave your own message). There have called Touch Pianist and, after hearing they could hear what it really sounded like. been a lot of pieces to this campaign, but the what Ludovico had to say about his music, The idea got lots of attention, including entire team has worked hard to communicate start was dwell time. Google Analytics reported an average session I realised Touch Pianist gave us the chance from Spotify, and shortly after the them all in a logical and exciting way and it’s duration of just over two minutes per user, which is fantastic. It to announce the album and lead single album release we launched a worldwide been brilliant watching people engage with was important to me that the site had a lifespan outside of the without giving anyone the actual music. homepage takeover with the player inside the ideas we’ve put together. announcement date. Because we were holding back the piece So the announcement was like, “’Night’ is it (the first time you could play music of music until the day after the announcement, we saw a large the new single from Ludovico Einaudi, but yourself from within Spotify) which we RESULTS & percentage of return visitors who logged back on to give the game we’re not telling you how it sounds until delivered in six languages. KEY LEARNINGS another shot once they were familiar with the rhythm. tomorrow; you have to go to our website We also hid coordinates disguised as Across the announcement weekend, approximately 41% of and work it out for yourself!” Morse code within video content which The dedicated landing page welcomed over visitors who logged on to the site did so with a mobile device. Since That was a fun thing to surprise people pinpointed a river and bridge near to 8k unique visitors on the announcement the announcement date, traffic to the site has lowered but remains with. Letting fans explore and interact with Ludovico’s birth place in Google Maps. Typing date, and it was great to see people talking consistent, and we’re still seeing people discover it for the first a piece of music for themselves seemed the location into the conspicuous-looking about the idea over Twitter and sharing the time; something we’re keen to encourage as we message the link like a nice way to do it that I don’t think password box on the website revealed a link. One metric I was interested in from the with the rest of our content reveals going into next year.

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TEAM MEMBERS This went live shortly before the release Other achievements include 50+ major media articles and INVOLVED of the album and allowed fans to play with frontpage coverage on Reddit. It was also showcased by Google as a samples from the album, creating their own great example of an innovative mobile experience. Simon Rollison – digital marketing manager, mixes in real time on their desktops, mobiles The two games that preceded the Adventure Machine Columbia and tablets. We used samples from the generated over 32k new sign ups to the mailing list. The database’s James Bassett – head of digital creative, singles as well as previously unheard tracks performance is in the top tier of Sony’s artist mailing lists in terms of Sony Music from the album, giving fans an opportunity click-throughs and engagements, which is testament to the fans we Oliver Chalmers – web designer, Sony Music to hear music ahead of its release. The were able to reach through the games. Allie Bailey – product manager, Columbia inspiration came from a viral video Madeon Our key takeaway was centred around how to run a fan-led Paula Hanley – head of digital, Columbia had posted years earlier of him using a campaign. By giving fans tools they could use to communicate with We Make Awesome Sh.it Novation Launchpad to mix his favourite each other, they became our most effective marketing asset. This Pretty Good Digital tracks and we hid an Easter Egg within the earned media significantly increased our reach and active audience. It website that allowed fans to control it using also allowed our paid campaign around the album to become highly OVERVIEW OF CAMPAIGN their own Launchpads. targeted by focusing on the large group of users that had already Album and tour messaging was placed interacted and shared content we had created for them. Madeon’s fanbase is fervent but globally around the game and drove significant dispersed. They’re not traditional music numbers to retail platforms. purchasers, so the challenge was to channel their online activity to reach beyond the RESULTS & existing fanbase around the release of his KEY LEARNINGS CAMPAIGN BREAKDOWN debut album, Adventure. We also wanted CAMPAIGN BUDGET £10,000–25,000 to go beyond the traditional metrics of l Awards for the Adventure Machine: winner a successful album campaign with an of both a Lovie and People’s Lovie FWA AUDIENCE DEMOGRAPHIC - GENDER artist we knew could effectively showcase winner BIMA finalist Female - 30% / Male - 70% innovative digital creative. l Since its launch on 16th March, the We rallied his fanbase around three Adventure Machine has been used by AUDIENCE DEMOGRAPHIC - AGE 15–30 distinct creatives that ran alongside all greatly increasing the engagement over 406k unique users, with an average traditional campaign elements; two simple around the mechanic. The second, for a dwell time of over seven minutes. These AUDIENCE DEMOGRAPHIC - LOCATION Global games based around free download set up track called ‘Imperium’, followed users were then retargeted through paid mechanics and a more complex one that suit with a different creative and together digital campaigns and accounted for 15% LINKS AND EXTRA INFO enabled you to remix the album. The first, they contributed to a large email database of total clicks through to the deluxe album Website: www.madeon.fr Crack The Code, asked fans to decipher allowing us to communicate directly download. Adventure Machine: www.madeon.fr/ a code based on a custom alphabet that with a highly engaged group of fans. This l Total time playing samples: 2,924 days adventuremachine features prominently throughout Madeon’s gave us the platform on which to launch l Number of samples played: 24.3m Imperium game: www.madeon.fr/imperium/ work for the past three years. our third creative, called The Adventure l Clicks driven directly from the Adventure game: www.madeon.fr/freedownload/ Fans took to social media to discuss Machine, built using the new HTML5 Machine: 52k to purchase or streaming and share answers with each other, WebAudio APIs. platforms, 22k to view tour dates

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TEAM MEMBERS was entirely reached, fans would receive an email confirming that INVOLVED they had won a ticket to the show.

Joaquín Fernández – general manager RESULTS & Antonio Vázquez – marketing / A&R KEY LEARNINGS manager Daniela León – marketing assistant The Incendiómetro was filled in 90 minutes, so we gave a pass Oliver Schael – web designer to the first 300 fans in return for their commitment to the band. Some of our quantitative results were: OVERVIEW OF CAMPAIGN l Reach – 109,938 people in Mexico City l Video views – 142,658 l Webpage visitors – over 7,000 l New mailing leads – 300 This campaign was launched locally and the idea is to use the Incendiómetro in every city in which Maná plays around the world to maximise the effect. CAMPAIGN BREAKDOWN CAMPAIGN BUDGET £0–£500

AUDIENCE DEMOGRAPHIC - GENDER Maná, one of the biggest selling and Female - 50% / Male - 50% award-winning Latin rock bands of all time, city for two nights as this is where they have would go to the site and log in using their released their new album, Cama Incendiada, their most loyal fans. In this attempt, we Facebook account. Then they would watch AUDIENCE DEMOGRAPHIC - AGE 15–40 in April this year. By the end of October, wanted to accomplish the following goals: at least 30 seconds of the embedded they premiered the official video of their 1) increase YouTube video views on the new YouTube ‘Ironía’ video in order to get the AUDIENCE DEMOGRAPHIC - LOCATION Mexico City third single, ‘Ironía’. In order to increase its single; 2) viralise the content organically; view count. After that, they were able to awareness, we created a web app based on 3) increase our email database; 4) increase click a button to share their video directly to LINKS AND EXTRA INFO a social unlock feature where fans would awareness of Maná’s tour (Cama Incendiada their Facebook feed. However, there was one www.manapromos.com be rewarded with concert tickets for the Tour) within Mexico City fans; and 5) provide important rule: fans had to come together to http://bit.ly/ManaArtwork band’s show in Mexico City in exchange for fans with a valuable and unforgettable fill the Incendiómetro, a bar that had to reach sharing the video directly to their Facebook experience. a total number of shares before it would be news feed. The band would be playing the When the web app was launched, fans completely filled. Until the goal (300 shares)

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TEAM MEMBERS INVOLVED CAMPAIGN BREAKDOWN Stephan Steigleder – senior director digital CAMPAIGN BUDGET £5,000–£10,000 media, Deutsche Grammophon

AUDIENCE DEMOGRAPHIC - GENDER OVERVIEW OF CAMPAIGN Female - 40% / Male - 60%

AUDIENCE DEMOGRAPHIC - AGE 18–44 (main)

AUDIENCE DEMOGRAPHIC - LOCATION Global (key territories: US, Germany, UK)

LINKS AND EXTRA INFO Artist website: www.maxrichtermusic.com Label website: www.deutschegrammophon.com black vinyl and 2 winner. Additionally, Artwork contest: http://99designs.de/illustrations/ X LP transparent every designer contests/create-max-richter-artwork-515287/overview vinyl. All digital who submitted an http://www.oneworldsleep.com/ partners got the entry that rated one-hour version, with 4 or 5 stars by including streaming Max Richter got a partners. However, signed copy of the the full eight-hour album. The UK team This was the first time fans were able to hear the full eight-hour version of Sleep created a fantastic album ahead of release. went exclusively to campaign that was iTunes at launch (4th September). launched worldwide a day in advance of RESULTS & For a special remix EP, we started an the release date. KEY LEARNINGS artwork competition for the album cover. Max Richter was inviting his fans It was hosted via 99designs – a design around the globe for an unusual The competition was very successful and received great attention: marketplace with a community of over 1m experience: to spend one night with his in the course of two weeks, 908 different designs from designers all designers worldwide. Anyone could sign music (Sleep) worldwide and across all over the world were submitted. The #OneWorldSleep campaign was The product suite included several up for free and submit their artwork for time zones, and to share their experiences, a great global success, with almost 20k sessions all over the world in versions of the product From Sleep, a one- the Sleep competition. The winner was dreams and thoughts afterwards using the one night. hour version of the full-product, Sleep. It handpicked by Max Richter personally hashtag #OneWorldSleep via Instagram, Sessions: 19,443 included a limited CD digipack, a CD (jewel and 99designs even upped the prize Twitter and Facebook, which all feed into Users: 13,229 case) to follow-up the digipack, a 2 X LP money by 50%, so there was €749 for the the website www.oneworldsleep.com. Page views: 27,526.

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TEAM MEMBERS and growth of the ambassador INVOLVED community and MLUSA social channels. Deb Keller – marketing & client The Gift Club gives you services manager (Fame House) rewards for Mysteryland USA Matt Chylak – digital strategy based on how awesome you are. manager (Fame House) Use your social currency (how Lotte Anna Lebens – marketing active you are on social media) manager (ID&T North America) to unlock access to exclusive Taylor Collins – marketing experiences and goodies from manager (Mysteryland USA) Mysteryland USA (and some of our buddies). Connect your OVERVIEW OF social media accounts to receive CAMPAIGN a score. You can compete in daily challenges to increase your The object was to drive score. Top scores unlock once- CAMPAIGN BREAKDOWN community growth, social in-a-lifetime experiences. engagement and ticket sales CAMPAIGN BUDGET £5,000–£10,000 surrounding the Mysteryland RESULTS & AUDIENCE DEMOGRAPHIC - GENDER N/A USA festival’s second year. KEY LEARNINGS We launched a white- labelled brand ambassador app Within three months of the AUDIENCE DEMOGRAPHIC - AGE 21–34 through SocialLadder – dubbed programme running from April The Gift Club. This mobile- until June 2015, we generated: AUDIENCE DEMOGRAPHIC - LOCATION first gamified ambassador l several thousand New York & the Tri-State area (US). The festival is held in community offered tickets and ambassadors (10% average daily Bethel Woods, New York (the original site of Woodstock other prizing incentives through actives) in 1969) user completion of point-based l more than 262k missions “missions”. completed, including over LINKS AND EXTRA INFO Each social-based mission 21k unique user-generated Case study on official website: tied directly into the festival’s Instagram posts http://famehouse.net/work/mlusa-gift-club-app/ program KPIs of increasing l a 12% conversion of new users sales conversions, boosting from SMS invites The app in the app store: fan engagement with MLUSA l a significant increase in https://itunes.apple.com/us/app/mysteryland-gift-club/ social accounts and , revenue generated from id973470865?mt=8 increasing rate of UGC creation mobile-tracked ticket sales from in relation to festival themes the app.

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TEAM MEMBERS INVOLVED CAMPAIGN BREAKDOWN Neil Blanket, Mute – head of CAMPAIGN BUDGET £25,000+ marketing Matt Dixon, Band2Market – AUDIENCE DEMOGRAPHIC - GENDER marketing consultant Female - 14% / Male - 86% Shaun Connon, Mute – marketing & promotion AUDIENCE DEMOGRAPHIC - AGE 25+ Zoe Miller (Mute) and Jack Delaney (Outside across their social media domains, with AUDIENCE DEMOGRAPHIC - LOCATION Organisation) – publicity nearly 1m new likes on their Facebook page UK, US, Japan, Germany, France Paul A Taylor, Mute – art + production the band hadn’t released a full studio since the launch of the campaign. A brand

Nicki Kefalas, Caroline Poulton and Nick album in the modern digital age, the new YouTube channel now boasts over 16k LINKS AND EXTRA INFO Carling (Out Promotions) – TV & radio campaign reflected both the traditional subscribers and their Spotify profile has www.neworder.com promotions side of a New Order release alongside gained over 40k new followers with their www.mute.com Sarah Gasperi (Mute) and Preeti Rajan newer approaches. Social media alongside monthly listen counts now regularly passing www.singularity-neworder.com (Outside Organisation) – social media remarketing tactics were established the 1m mark. Claire Morel, Mute – international to directly target the band’s fans whilst Both singles from the album have been Gianpiero Fiorin, PIAS – sales and traditional promotional activities playlisted at BBC 6 Music, BBC Radio 2, distribution complimented the marketing approach. Absolute and Radio X, showing the diverse A strong media campaign with major appeal of the band and the quality of the OVERVIEW OF CAMPAIGN press features, big radio targets and music on the new album. Key learnings sustained marketing activities upfront include a deeper understanding of the New Order’s first new studio album of album release took place whilst only New Order fanbase and what methods since 2005 and their first on Mute, Music concentrating on one single. work with regards to the balance of pre- Complete was released on 25th September order/sales messages versus general 2015. The campaign was teased and then RESULTS & updates. Outside of the music and the launched in June with a series of audio/ KEY LEARNINGS band, a lot of the success is down to the visual trailers. The album pre-order strength of the team assembled; from the campaign launched in late July in tandem Music Complete entered the UK charts at label through to management and the with the radio premiere on the Chris Evans #2, giving the band their highest charting external promo teams, a close working show on BBC Radio 2. album since Republic in 1993. Press relationship and strong teamwork lead The campaign was built around the reviews across the board highlighted the to a well-executed campaign which will previous albums came out strong but then didn’t always have band’s audience – targeting the hardcore band’s return to form, many calling it their see the album sustain post-release into a a long shelf life, which was something we wanted to avoid and fans first and then building out slowly greatest work since Technique in 1989. lengthy campaign. as it currently stands we are planning through to at least a year to casual fans and a new audience. As The band have seen massive gains It was noted in the outset that post-release.

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garnered PR coverage across music, tech and mainstream press, including Billboard, MTV and The Telegraph, plus The FWA awarded us Mobile Site Of The Day. Other moments saw great results: Snapchat Story delivered 294.5m views whilst the UK D2C activity drove a 6k uplift on sales. By putting in place a tight takedown strategy, we were able to drive fans to content available only on Spotify, iTunes and Vevo. Inevitably this had a huge and, in this case, positive effect on sales. However, it also demonstrated that this strategy was only going to be effective for certain artists. The fanbase is one that naturally creates a large volume of UGC and without this available TEAM MEMBERS there was a content gap that needed to be filled to ensure long- INVOLVED pick up. There was a surprise dropping of custom Twitter avatar and header. term engagement. By working with the band, Google and Twitter, tracks and content; no pre-promo, just four It culminated in The LDNSession with we were able to deliver fans premium and exclusive content, Mei-Ling Rider – head of digital tweets from the band direct to fans, followed Apple Music, a secret gig hosted by James rewarding them through an enhanced experience and activating Lisa Johnson – digital marketing manager by a social and targeted ad campaign Cordon for 150 fans and content from the them on a global level. Jason Edwards – channel manager We partnered with Google to build a gig was rolled out on Connect week of Terry Summerbell – digital producer mobile site within Streetview that delivered release. Other campaign moments included Paul King – Wemakeawesomesh.it (agency) 14 days of surprise interactions leading up to a Snapchat Story, Blippable content and a release. Items appeared daily in the Made In digital photobook to drive D2C sales OVERVIEW OF CAMPAIGN The AM space (a ‘fictional’ room shot with a CAMPAIGN BREAKDOWN 360° Google camera). Fans moved about the RESULTS & CAMPAIGN BUDGET £10,000–£25,000 Five albums in five years, 75m+ fans, a space to find new items which, when clicked, KEY LEARNINGS widely reported hiatus and now a fourpiece; delivered exclusive IGs, videos, images and AUDIENCE DEMOGRAPHIC - GENDER our objective was to deliver a campaign that audio. Socials drove to the site and once The campaign achieved a #1 album across Female - 80% / Male - 20% placed the fans at the heart and show the inside fans were able to share content back the world including key markets UK, Japan, band as truly unified. Put simply, say “thank to socials with #MadeintheAM to Italy and Mexico. We saw 1.1m visits to AUDIENCE DEMOGRAPHIC - AGE 13–24 you” to those loyal fans. With the band and sustain visibility up to release. MadeintheAM.com in 14 days, with 76% their fans now older, innovation had to be We partnered with Twitter to give the coming from mobile devices. In addition, AUDIENCE DEMOGRAPHIC - LOCATION present at the core of the campaign, but the fans six custom emojis: band members, the site drove a 13% click-through rate Global key was to keep this fun. group and album. We then mobilised that to pre-order on day of launch, six weeks Partnering with Google, Twitter and groundswell with a 24-hour global fan after the pre-order first went live. It turns LINKS AND EXTRA INFO Apple across the campaign allowed us competition to show just how much their out that everyone does love emojis! Heat www.madeintheam.com to get creative and deliver what the fans country love 1D. The top 10 countries were World announced that it was the “Best twitter.com/onedirection wanted, where they wanted it – on mobile. rewarded with a custom emoji. Not wanting day ever!” and we saw over 46.7m uses facebook.com/onedirection In addition, it gave us reach outside the core, to leave anyone out, on release day all 140 of the emojis, multiple worldwide and creating activity that achieved mainstream countries were surprised with their own country trends. The site and Twitter activity

23 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY STEVE SNUG PLATTERS

TEAM MEMBERS INVOLVED

Olivia Hobbs – product manager OVERVIEW OF CAMPAIGN

Steve is the first signing to Snug Platters, a label founded by Guy Garvey of Elbow and Jim Chancellor of Fiction Records. We made a bold decision at the start of this campaign to not use social media for CAMPAIGN BREAKDOWN our marketing messages and chose to not £0–£500 maintain sites for Steve, instead opting for CAMPAIGN BUDGET all artist communication to be via SMS only. support Bloc Party on their upcoming tour of To collect the data, we have been working the UK and Europe. She also played Radio X’s AUDIENCE DEMOGRAPHIC - GENDER Female - 50% / Male - 50% with the team at Chilli Mobile and so far X-Posure Live at Camden’s Barfly on 14th have had the number read out live on radio December. She’s now fast picking up support 18–60 and beyond. with the new single ‘Emergency Art Rate’, AUDIENCE DEMOGRAPHIC - AGE The label has maintained socials and a with 6 Music plays from Chris Hawkins, 6 website in place (http://snugplatters.com) Music Recommends and daytime plays from AUDIENCE DEMOGRAPHIC - LOCATION London & Manchester and all messages from Steve herself have Lauren Laverne. She has had two plays at been focussed on audio messages only (as Radio 1 from Huw Stephens and five plays you can hear on the site). We believe this from Radio X’s John Kennedy, as well as a LINKS AND EXTRA INFO approach has given her an edge, in particular Radio X session and phone interview. Snug Platters social media http://po.st/SnugFB at radio. we’ve had a few hundred so far and the Facebook: http://po.st/SnugTW Following the release of debut EP RESULTS & list continues to grow. I believe part of the Twitter: http://po.st/SnugYT ‘Danger! High Failure Rate’, which saw the success in the SMS approach is that only YouTube: KEY LEARNINGS http://po.st/SnugSU single ‘Two Point Nearly Zero’ playlisted on the true super-fans will sign up and they’ll Sign-up: Website: http://www.snugplatters.co.uk Radio X as well as across the board support Results are mainly in radio as we’ve seen be happy to receive messages periodically from John Kennedy, Lauren Laverne, Steve and the key learning we’ve taken from (spacing them out by weeks); so it’s less Lamacq, Chris Hawkins, Nemone and Huw this is that you don’t always need a social in-your-face than social can be, plus every Stephens, Steve has now been confirmed to presence to be seen. In terms of sign ups, single person gets the message every time.

24 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY TAYLOR SWIFT ASIA

TEAM MEMBERS l 246,908 unique page views INVOLVED l 424,942 total page views l 4:01min average time spent on the page Florian Jungbauer – SVP marketing, l 413 days total time spent on the page consumer engagement & digital partner l 230,904 photos generated (147,000+ saved on our page) management l these photos got shared on Facebook and Twitter using the Antonio Hui – digital/marketing executive hashtag #MyBadBlood Wing Leung – senior marketing & l 12,308 clicks to the album operations manager SEA l 12,157 clicks to the single l sales uplift varied in each market (between x1.2 - x2.5) OVERVIEW OF CAMPAIGN l est. ROI ~8,000% (within the campaign period only)

To promote Taylor Swift’s release of Social media stats ‘Bad Blood’, UMG’s regional marketing l 1,942,284 total reach on Facebook, 1,618,423 total reach on team developed and launched a simple Twitter (both mainly organic) campaign (badblood.getmusicasia.com) l 47,261 post engagements (likes, comments, shares on FB) that allowed users to create their “alter- l 26,257 new Facebook fans across the region ego” by uploading a selfie and merging it with the single’s cover image. pages, allowing easy submissions This campaign solely aimed to create access to iTunes and we collected awareness for the new release while and other digital several thousand engaging the audience in a fun and sharable partners. Users email addresses in CAMPAIGN BREAKDOWN activity. The campaign was targeted to were prompted to our eCRM database females and males, 18-35 years old, across share their “alter- allowing us to CAMPAIGN BUDGET £0–£500 nine markets in the region. ego” with their re-market to the The campaign itself was mobile friends across social audience. Up until AUDIENCE DEMOGRAPHIC - GENDER optimised and the mechanism was kept media. today (six months Female - 60% / Male - 40% simple so users in emerging markets later), people (where internet connections are often RESULTS keep using the page, which now hosts a AUDIENCE DEMOGRAPHIC - AGE 18–35 lacking speed) could still experience ‘Bad & KEY staggering 200k submissions. Key to this Blood’ in the best way possible. The LEARNINGS success was the engagement of local AUDIENCE DEMOGRAPHIC - LOCATION Korea, campaign did not offer any incentives and UMG artists, who themselves are Taylor Greater China, SEA was largely promoted organically through Despite largely organic promotion Swift fans and hence contributed to this direct mailing, postings in social media and (eCRM mailers, social media postings), fantastically successful campaign. LINKS AND EXTRA INFO through engagement of influencers and the campaign triggered an unbelievable Further results of the ‘Bad Blood’ http://badblood.getmusicasia.com/ local UMG artists. Both the single and the buzz in social media. Within the first campaign (within the campaign period album were prominently exposed on all week, we received more than 147k photo only):

25 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY THE CHEMICAL BROTHERS VIRGIN EMI

RESULTS & KEY LEARNINGS l 16k visits CAMPAIGN BREAKDOWN l 1 minute 15 seconds average dwell time l 4,306 streams of the album samplers CAMPAIGN BUDGET £2,000–£5,000 l 994 playlists shared l 2,856 visits to timeline AUDIENCE DEMOGRAPHIC - GENDER l 38% bounce rate Female - 30% / Male - 70% TEAM MEMBERS l Listen to a INVOLVED sampler of the I’ve used the Spotify API for more interesting AUDIENCE DEMOGRAPHIC - AGE N/A Luke Ferrar - senior digital marketing manager album whilst album samplers in my marketing activities controlling the this year. AUDIENCE DEMOGRAPHIC - LOCATION London OVERVIEW OF CAMPAIGN trippy visual in The API itself is vast and intricate and the the background possibilities are seemingly endless. LINKS AND EXTRA INFO Interactive visualiser to listen to the new l Create your own ultimate Chemical We were particularly proud of how this www.bornintheechoes.com Chemical Brothers album on Spotify, using Brothers playlist and save/share it worked on mobile. It pushed the boundaries FWA site of the day winner: www.thefwa.com/site/ mobile WebGL combined with the Spotify l Timeline of historic singles/albums of Web GL in mobile browsing as well using the-chemical-brothers-born-in-the-echoes API (which has never been done before). your device’s accelerometor. Three key functions: All of it was perfectly optimised for mobile. Credit to Grant at NEU for building it.

26 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY * UK/Europe ** (North America/ROW THEY MIGHT BE GIANTS LOJINX* / IDLEWILD RECORDINGS**

TEAM MEMBERS INVOLVED

Andrew Campbell – managing director, Lojinx Jamie Kitman & Pete Smolin – management, The Hornblow Group USA Felice Ecker & Sarah Avrin – US publicist, Girlie Action Media Jesse Barnett – US radio promotion, Right Arm Resource For all of 2015, the band returned to own social media accounts to engage with Jamie Danan & Terry Emm – UK PR, their high-concept/no-budget idea via the fans and media directly. The two albums Cannonball PR web. New songs are delivered online every have served as impact dates for conventional Rob Kerford – UK regional press, Sonic PR Tuesday to dialasong.com and the band’s promotional activity at radio and press; CAMPAIGN BREAKDOWN Kieran Cullen & Martin Cook – UK radio bespoke iOS and Android mobile apps, in however, radio and online promotion and promotion, All About Promo addition to YouTube and the usual social marketing has continued throughout the year CAMPAIGN BUDGET media, streaming and download platforms. to keep interest buoyant and to engage with (Multiple costs-centres, different in each territory/label) OVERVIEW OF CAMPAIGN The band have also engaged their fans both old and new with each new weekly substantial fanbase directly by utilising Drip. song and video. AUDIENCE DEMOGRAPHIC - GENDER In 2015, They Might Be Giants repurposed fm to offer patrons weekly early access and Female - 50% / Male - 50% their ingenious Dial-A-Song concept and occasional bonus material, all for a modest RESULTS & released a new song (and accompanying subscription fee. KEY LEARNINGS AUDIENCE DEMOGRAPHIC - AGE All music video) every week of the year. The In the US, the Dial-A-Song Radio campaign has seen selected tracks featured Network sees a select group of 100+ college, While keeping up with the band’s quantity AUDIENCE DEMOGRAPHIC - LOCATION on two full-length albums (Glean in April, community, and commercial terrestrial of output is certainly a lot of work for all North America & UK Why? in November), with a third release stations across the country premiere new concerned, the resulting highlights include planned for early 2016. Dial-A-Song tracks each week in advance of sessions for BBC Radio 2 and 6 Music, and LINKS AND EXTRA INFO Originally launched in 1983 from appearing online. consistently highly rated reviews both in www.dialasong.com John Flansburgh’s Brooklyn kitchen via a The concept and creative vision for the print press and online. Dial-A-Song has www.youtube.com/particlemen consumer answering machine, Dial-A-Song campaign is entirely driven by the band helped to keep the band front and center www.drip.fm/dial-a-song-direct/story let listeners in on the latest and greatest themselves. Johns Linnell and Flansburgh in the public eye all year long and has been www.facebook.com/theymightbegiants from the band years before their career took not only maintain the high-quality musical particularly helpful in selling tickets to live twitter.com/tmbg off on a national level. The band’s ground- output, but the duo also drive visual material concerts in all territories. TMBG have played www.lojinx.com/releases/they-might-be-giants/dial-a- breaking service was free to all but later by steering, commissioning (and occasionally sold-out shows across the world, including song-2015 copied by major labels who unsuccessfully creating) videos, artwork and other recent tours of the US and Australia, and www.lojinx.com/releases/they-might-be-giants/glean attempted to monetise the concept with supporting design content. the upcoming 2016 UK tour piggybacks on www.lojinx.com/releases/they-might-be-giants/why copycat toll-call services for the likes of MC Publicity teams in the US and UK take that success with extremely strong advance Hammer and Vanilla Ice. their lead from the band who control their ticket sales.

27 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY TOVE STYRKE SONY MUSIC SWEDEN CAMPAIGN BREAKDOWN CAMPAIGN BUDGET £2,000–£5,000 TEAM MEMBERS INVOLVED AUDIENCE DEMOGRAPHIC - GENDER Female - 45% / Male - 55% Ellen Kvarby – creative/concept manager Tove Styrke – creative director/artist AUDIENCE DEMOGRAPHIC - AGE 13–30 Suzanne Rapp – product manager David Ekdahl – system administrator AUDIENCE DEMOGRAPHIC - LOCATION Sweden OVERVIEW OF CAMPAIGN LINKS AND EXTRA INFO Play the game: http://kiddogame.com In the music game, Tove Styrke created her own game to change the album release game. To create a deeper connection with and his YouTube channel. top three players received a special box with fans, a game based on the artist’s life, music 2. Partnership collaboration: Tove Styrke personal selected merchandise. and videos was created for the release of perfomed at Dreamhack (the world’s 6. Targeted digital ads: Facebook advertising crowded marketing space that music already is. For this campaign, Tove’s new album, Kiddo. People could play largest digital/gaming festival). The festival adapted to target group. we chose an additional cultural context that was close to Tove the 8-bit Kiddo Game on kiddogame.com; promoted the game through their website, Styrke’s heart and mind – gaming – deepening the connection with the website also featured an embedded newsletter and social channels. Gamer YZN RESULTS & her and the world. Spotify player with Kiddo songs as a game also presented Tove Styrke on stage before KEY LEARNINGS soundtrack. Tove Styrke was creative her gig. Key results director from idea to production and launch, 3. Offline activation: The Kiddo Game was By adding a conceptual creative idea to what 1. The game was essential to make a collaboration with powerful so the user experience truly became a promoted in real life at the Swedish summer could have been a traditional album launch, partners such as YZN and Dreamhack, resulting in massive spread in personal experience for fans all over the festival Way Out West, where Tove new media segments both media and social media. world. The Kiddo Game created an additional Styrke performed. The game was and new fans can be 2. The campaign period with YZN resulted in 8,487 game plays, PR tool to launch Tove Styrke’s album, projected on the venue wall and reached. This is 11,813 page visits, 27.8% returning visitors. The average gaming time presenting a new way for journalists and fans stopped by to play. essential in the was 5.35 minutes (the perfect length to hear an album track via the fans to talk about and interact with Tove’s 4. New PR segments: The embedded Spotify player) music. game provided an extra 3. The offline activation extended the concert experience before and But just because you build something, it PR-angle, resulting in after Tove Styrke’s performance at Way Out West, making it more doesn’t mean the people will come in today’s coverage from new media memorable and helped it stand out from other artists through word- digital landscape. So we strategically spread segments – e.g. tech and of-mouth. the news through six main tactics. gaming. 4. Tove Styrke’s fans and followers in her own channels responded 1. Ambassador collaboration: One of 5. Personal PR: with positive reactions and comments, and her fanbase grew. Sweden’s largest gaming streamers, YZN, Tove Styrke held a 5. Overall, the Kiddo Game campaign broadened Tove Styrke’s listener launched a Kiddo Game competition to his competition on her base by reaching completely new media segments, in addition to followers on his Twitch stream. He also own social media receiving major coverage in music media. But, most importantly, promoted the game through social media channels, where the Tove’s fans got to know a new side to her.

28 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY VILD $MITH UNIVERSAL MUSIC DENMARK CAMPAIGN BREAKDOWN CAMPAIGN BUDGET £0–£500

AUDIENCE DEMOGRAPHIC - GENDER Female - 38% / Male - 62%

AUDIENCE DEMOGRAPHIC - AGE 18–24

AUDIENCE DEMOGRAPHIC - LOCATION Copenhagen, Denmark

LINKS AND EXTRA INFO Heaps: http://heapsapp.com/ Vild $mith teaser video 1: https://www.facebook.com/ vildsmith/videos/vb.438089969607388/8145006152996 53/?type=2&theater Vild $mith video 2: https://www.facebook.com/ vildsmith/videos/vb.438089969607388/81934801481491 3/?type=2&theater Video from the release party: https://www.facebook. com/vildsmith/videos/vb.438089969607388/827261770 690204/?type=2&theater

TEAM MEMBERS swipe it, in order to get a match and more 18-25. Since Heaps is all about having fun and bringing people INVOLVED details, including the event’s location. We together – with a focus on the party – it naturally seemed like a perfect made video teasers and posted them on the match for Vild $mith. Samantha Foltmar – social media strategist band’s Facebook page to raise awareness when they perform live (in Danish “vild” Wiebke Averbeck – product manager around both the party and the album. means “wild”). Their breakthrough single RESULTS & To get into the party, you had to show from 2014 is a well-known party anthem, KEY LEARNINGS OVERVIEW OF CAMPAIGN the chat window (with the match, with the ‘Vild Idag, Syg I Morgen’ (translated: “Wild band) in Heaps on your phone. In that way, today, sick/hungover tomorrow”) and Within two weeks, we had reached 1,200 swipes (with a goal of 500, We partnered up with the app Heaps (like you would have to take action to become it’s been the cornerstone for the whole since the event took place at a venue with a 350-person capacity). , but for local parties) for the launch of a part of the party; in return, you’d be a branding and mindset revolving around On social media, the band reached 50k people, which was five times the new album by hip-hop party band Vild special guest, with a personal invitation Vild $mith. their fanbase. The direct connection between fan and band/idol $mith. We asked the fans to find the official from the band. Vild $mith is known for Their fan demography is equal to the offered value to the devoted fanbase, since they were offered a unique release party on the Heaps app, and then having a blast and throwing crazy parties users on Heaps – mainly youngsters aged opportunity to party with the band.

29 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY WHITESNAKE THE ORCHARD/FRONTIERS MUSIC SRL CAMPAIGN BREAKDOWN CAMPAIGN BUDGET £2,000–£5,000 TEAM MEMBERS INVOLVED AUDIENCE DEMOGRAPHIC - GENDER Female - 40% / Male - 60% The Orchard Dan Griffiths – senior manager, interactive AUDIENCE DEMOGRAPHIC - AGE 35+ marketing Danny Chang – manager, digital advertising AUDIENCE DEMOGRAPHIC - LOCATION Viktoria Zaenker – manager, digital Main audiences in US, UK and Germany, but advertising with very strong fanbase worldwide Ben Poliszczuk – client relations manager Marissa Putney – director, client relations Lee Barter – senior account manager, video services, Europe Jonathan Ellis – graphic designer links, which Facebook page memories with the hashtag #PurpleAlbumWS and the best entries Vipul Chopra – graphic designer were used for along with were showcased on Whitesnake.com via SnapWidget driving further Frontiers Music Srl both pre-orders messaging in awareness of retail outlets that were also profiled on the site. Mario De Riso and track/video local language. In the weeks that followed release, a series of track-by-track videos Nick Tieder premieres. Come were seeded on the band’s social networks giving David a platform to The band the week of explain to fans what the tracks meant to him personally in addition to OVERVIEW OF CAMPAIGN released release, an all- a series of Purple Memories videos that created a platform for David several videos, encompassing to reminisce about his time in the band. Whitesnake’s The Purple Album was allowing us to advertising released on 15th May 2015 On Frontiers cross-promote campaign RESULTS & Records. The album is a selection of newly the release was rolled out KEY LEARNINGS recorded Deep Purple songs performed by to fans of Deep Purple. For the ‘Soldier Of (Facebook video, search, YouTube pre-rolls, Whitesnake and frontman David Coverdale Fortune’ video, a short 15-second clip was banners) which drove 1,522,073 impressions l Chart positions: #18 in the UK, #43 on Top Current Albums and #84 who has been a member of both bands. taken from the start of the video allowing and 242,510 video views. This took on the Billboard Top 200 Charts in the US, #9 in Finland, #17 in the Our main goal for the campaign was to not us to use Facebook’s native Facebook advantage of the substantial remarketing Czech Republic, #11 in Switzerland, #34 in Norway, #18 in Sweden only build anticipation with the existing format to drive traffic to a monetised source list (90,000+) that was gathered during the (#1 on the Hard Rock Charts in Sweden), #13 in Germany, #24 in the Whitesnake fanbase but also build further (YouTube) while also creating a pool of those first phase of the campaign that captured Netherlands and #8 in Japan. cohesion and engagement with the Deep who watch the video via Facebook custom data on both Deep Purple and Whitesnake l Digital sales of The Purple Album to date: 8,000+ Purple fanbase. audiences that we could remarket to closer audiences. l Streams of The Purple Album to date: 1.5m+ The initial pre-release campaign involved to the album’s release. As the band have A competition that encouraged fans l Spotify followers increased 25%. We believe this was largely due to rolling out re-brandings and an animated a large fanbase in Germany (and due to to share their Deep Purple memories, the rollout of four instant grat tracks splash as well as a hashtag wall to be used licensing issues faced with putting music on photographs and fan artwork that l To date official YouTube videos and promotional materials from the in the post-release phase. Remarketing YouTube in the territory), we premiered the celebrated David’s time in the band was set campaign have been viewed over 2m times pixels were included on whitesnake.com and video, in its entirety, natively on the band’s up. Fans were encouraged to share their l 1,522,073 ad impressions served

30 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY YACHT DOWNTOWN RECORDS / BBDO NYC

TEAM MEMBERS INVOLVED

Josh Deutsch – CEO, Downtown Records Greg Hahn – chief creative officer NYC, BBDO OVERVIEW OF CAMPAIGN

Yacht are a conceptual pop band based in LA. In 2015, they released their fifth studio album, I Thought The Future Would Be Cooler, through Downtown Records which was a sweeping and visionary pop critique CAMPAIGN BREAKDOWN of the 21st century. For the launch of the CAMPAIGN BUDGET £2,000–£5,000 single, ‘LA Plays Itself’, the band wanted to release it in a way that was directly tied to the city of LA, so we embarked on an idea AUDIENCE DEMOGRAPHIC - GENDER to make LA, the city, the play button. It Female - 45% / Male - 55% was simple – when LA traffic was bad, the RESULTS & track unlocked. KEY LEARNINGS AUDIENCE DEMOGRAPHIC - AGE 18-30 Thus, in a way, a bustling LA automatically hits play. In order to do this, On the day of the launch, media AUDIENCE DEMOGRAPHIC - LOCATION we created a mobile web experience that coverage expanded far beyond US, with large bases in LA, NY, San Francisco, Seattle, bound LA traffic patterns to the release of music blogs garnering coverage on Portland and Austin the track via . When traffic was bad, every major music and technology Uber prices surged more than 1.1x the site including Pitchfork, BuzzFeed, LINKS & EXTRA INFO normal rate and the music video unlocked. The Verge, Engadget, LA Times, ‘LA Plays Itself’ official music video: When traffic was really bad, surge prices Gizmodo and Stereogum earning https://www.youtube.com/watch?v=VaAqe5nMAuA doubled 2x and a remix by Darq E Freaker ‘LA Play’s Itself’ more than 15m unpaid hours after the launch, asking to collaborate. How ‘LA Plays Itself’ surge pricing works: played. Fans could follow Yacht’s Twitter media impressions. Within two days, the The key takeaway from this campaign https://www.youtube.com/watch?v=Tl13yfNTuJ4 account for automatic updates when video had exceeded 100k views and the showed that, in order to make an impact Buy I Thought The Future Would Be Cooler: Uber prices surged in LA and the track or site was shared more than 5,000 times with releases, you need to create a moment http://smarturl.it/YACHTfuture remix unlocked. across social media. By the end that is inherently interesting to Stream I Thought The Future Would Be Cooler: By bonding the track to allow LA traffic of the week, album pre-orders people who are not already in http://smarturl.it/YACHTfutureSpotify patterns to literally play the song we were had increased by 23%. the artist’s ecosystem by Yacht site: http://teamyacht.com/ able to connect the city to the music that And even Uber loved it, creating campaigns that are inspired it. contacting the band just social by design.

31 | sandbox | ISSUE 147 | 16.12.15 SANDBOX 2015 SURVEY YEARS & YEARS POLYDOR CAMPAIGN BREAKDOWN CAMPAIGN BUDGET £25,000+ TEAM MEMBERS INVOLVED AUDIENCE DEMOGRAPHIC - GENDER Female - 65% / Male - 35% Maddy Smith – senior digital marketing Olly Rice – marketing AUDIENCE DEMOGRAPHIC - AGE 18–24 Fiona McAluey / Lara Dowd – social managers, Weller Media Agency AUDIENCE DEMOGRAPHIC - LOCATION OVERVIEW OF CAMPAIGN UK/Europe-focused

LINKS & EXTRA INFO As one of the most talked about new Shine Take Control: http://yearsandyearsofficial.com/ artists of 2015, Years & Years started the takecontrol/ year with a number of key tips under their Remix generator: http://thisisofficial.com/years-years- belt (Critics’ Choice shortlist, BBC Sound remix-generator/ Of 2015 winners, Vevo DSCVR 2015 and Facebook: https://www.facebook.com/YearsAndYears/ many more), it was our job to capitalise Twitter: https://twitter.com/yearsandyears on this and make sure they had a strong Instagram: https://www.instagram.com/yearsandyears/ presence online, where their fanbase Website: http://yearsandyearsofficial.com/ is most at home. Their fanbase skews #ChooseShadow. The ad was broadcast the broadcast and an exclusive behind- female, with the 13-17 and 18-24 age at 9pm during the Channel 4 Friday the-scenes video from the making of the demographics dominating. A focus on primetime schedule and saw some great TV ad premiered with MTVs Snapchat social engagement and massive partner results. The event trended globally, with channel and garnered just under 1m views looks was our strategy, with the debut 13.8k tweets during the three-minute in 24 hours. The whole broadcast was also RESULTS & album, Communion, being released on the ad slot, widespread partner support streamed directly in to a microsite http:// KEY LEARNINGS first New Music Friday; we also capitalised including iTunes, Vevo, Shazam and yearsandyearsofficial.com/takecontrol/ l Communion #1 album for two weeks on release. 200k+ album on this to own the conversation as the Twitter. This was supplemented online where international fans could tune in. The sales to date and one of the breakthrough new British acts of 2015. first meaningful release of this new era. with high-quality teasers leading up to videos still live here for fans to view. l ‘King’ #1 single, multi-platinum sales and one of the biggest Our flagship digital look for the album singles of the year so far with ‘King’ the #10 most streamed track launch was the live interactive advert in UK (as of start of October) broadcast on Channel 4 on the day of l ‘King’ video on 115m+ views and 176m Spotify streams album release; #ShineTakeControl was a l Communion remained in the Top 10 UK album chart on Spotify world first. Three alternative music videos until the end of November were made for the current single ‘Shine’, l Focus social on the fans and not sales messages. A picture of viewers were given the chance to control Olly in a straw hat is just as impactful on sales as a link to Spotify which video they saw as the three-minute and iTunes advert progressed by tweeting the three l Importance of streaming in breaking new artists especially hashtags #ChooseDark #ChooseLight playlist inclusion and plugging

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