Sandbox MUSIC MARKETING FOR THE DIGITAL ERA Issue 87 | 19th June 2013

Ad rock: making digital ads work INSIDE… Campaigns Digital is eating traditional PAGE 6: advertising’s dinner while The latest projects from the claiming to be more effective digital marketing arena >> and measurable. Banner ads, Campaign Focus pop-ups and rollovers might PAGE 7: be the most obvious (and J. Cole – Born Sinner >> annoying) forms of digital Tools advertising, but social is PAGE 8: also changing things. Search Ticketmaster LiveAnalytics ads currently dominate, but >> YouTube is proving highly Behind the Campaign effective for music and mobile PAGES 9 - 11: is set to blow everything apart Disclosure >> again. As music business ad Charts spend migrates online, what PAGE 12: is working best and where do labels get the most ad bang for Digital charts >> their buck? Issue 87 | 19th June 2013 | Page 2 continued…

Online advertising hit a new high in the US Tweet have in common with a banner ad in Q1 this year. According to figures from on NME.com, other than they are both, America’s Interactive Advertising Bureau, essentially, “digital”? digital advertising revenues came to $9.6bn For the record, the IAB US report breaks in Q1, up 15.6% on the $8.3bn figure reported digital advertising down into: in the same period in 2012. • search Of this, entertainment took a healthy share. The Q1 release doesn’t break down spend • display/banner by sector, but the IAB’s full year 2012 report • classifieds showed that the entertainment sector represented 4% of all digital advertising • mobile revenue in the year. • digital video In the UK, meanwhile, the Internet • lead generation (fees paid by advertisers Advertising Bureau reported that digital to online companies that refer qualified advertising increased by 12.5% in 2012 potential customers) to a record annual high of £5.42bn, with entertainment and media making up 13% of • sponsorship that total. • rich media Possibly the most important point to make Jason Reed explains. These figures probably won’t surprise too • email is that while digital advertising may offer many people in the music industry, where “With the ability to A/B test [e.g. using two cheaper alternatives to traditional media digital has become ubiquitous. So dominant Adding to the complication, different variants in randomised tests], and constantly – courtesy of per-click rates and online has digital advertising become in the music sectors within these enjoyed wildly differing evolve strategies around creative, targeting marketplaces where advertisers can bid industry, in fact, that Sony’s decision to air fortunes, with email revenue down 27% year- and placement – digital has perhaps on campaigns – advertising budgets have TV ads for ’s new album, Random on-year, while mobile grew 111%. empowered labels to use their spends not, on the whole, fallen. In fact, global Access Memories, was considered something more efficiently and effectively, rather than advertising budgets grew 3.2% in 2012, of a shock in the US. Digital and social media lower the reducing overall advertising budgets across according to Nielsen, despite falling 4.2% in barriers to entry a label,” he says. Behind the headline figures, however, lies recession-ravaged Europe. an immensely complicated field, one that So where exactly are record companies It would be a mistake, therefore, to think of What digital has done is to lower the barriers begs the question as to whether or not the spending their digital ad money in 2013? And online advertising as replacing other forms of to entry, allowing labels to experiment with term “digital advertising” even makes sense how can labels get more bang for their digital advertising directly, even as digital continues smaller spends throughout different parts in 2013. For what, after all, does a Promoted buck? to grow its share of the advertising pie. of the campaign, as Domino head of digital Issue 87 | 19th June 2013 | Page 3 continued…

“We don’t usually spend money online except but online advertising can open up new ways This, according to Marni Wandner (president Vier, who oversees digital advertising for the for key releases and when we do we go to of identifying and targeting an audience of marketing agency Sneak Attack Media label’s artist albums. a couple of music websites,” says Gonzalo heavily engaged in music.” in New York), roughly reflects “Google Display Network is a really good Schiaffino, label manager of Everlasting spending. “Depending on the label and the This constant evolution and fragmentation place to advertise releases if the aim is to Records in Spain. “We’re spending less project, there’s still a bit of a budget allocated means that it is difficult to comprehensively drive sales, as it allows us to reach a very money on advertising – but not as a result of toward banner ads,” she says. “Though I think identify the key sites for advertising among wide audience searching, watching or digital. In fact it’s because it’s not profitable overall we’re all seeing the most return from record labels (see box p5). Looking at the reading music content via Google Search, anymore.” Facebook ads and SEO/SEM campaigns using whole sector, search continues to be the YouTube and websites or blogs belonging to Google AdWords ads.” Reed adds, “Online advertising certainly is largest area of digital advertising: in the their network,” he explains. more than ever an increasing part of the mix, UK, paid-for search marketing increased Adam Cardew, digital manager for “Other platforms such as Facebook might but more ‘traditional’ areas of focus such 14.5% to £3.17bn in 2012, representing a Absolute Marketing & Distribution, also be better to run ads in order to create more as radio and print continue to be important 58% share of digital advertising. In the US, favours Facebook, although he says online awareness about an artist, a video or a areas of outreach for us. Ultimately it’s search accounted for 46.3% of full-year 2012 advertising must reflect both the standing of release. As a label we mainly focus on the a bespoke set-up for each campaign revenues, down slightly from 46.5% in 2011. the band in question and what you want to Google Display Network with YouTube pre- depending on where the audience frequents; achieve from the campaign. roll, YouTube banners, Admob (mobile ads) “If you are trying to drive new fans for a and remarketing ads that allow us to target breaking act then mostly we work with an audience that has already engaged with Facebook on sponsored stories and our music.” promoted posts,” he explains. “If you have Given YouTube’s 1bn monthly users, as well an established act and the aim is to sell as its key role in music discovery, it is hardly albums, then we find that the best return on surprising that its name keeps popping up investment comes when people can listen to when discussing online promotion. the music. We find YouTube pre-roll ads are the best way to get the product in front of Reed says that YouTube is probably the key somebody.” site for digital advertising for music. “Given that YouTube has become something of a These ads can be costly to create, he notes, hub for music fans across all genres and but they generate impressive click-through demographics – with time spent there set rates to iTunes/Amazon and other retailers. to only increase across devices – it does feel This distinction between driving sales and like a more obvious avenue to focus upon,” creating awareness is also made by Ministry he says. “But since each campaign will have of Sound digital marketing coordinator Julien its own objectives in terms of end-goals and Issue 87 | 19th June 2013 | Page 4 continued…

communication, it’s important to be flexible IAB UK to establish the Audio Council “in Mobile is the next frontier labels’ digital advertising plans rather than in the approach.” acknowledgment of the growing significance being bundled in with other online activities Mobile is another boom area for advertising, of audio within the digital landscape”. because of the competing platforms and how Vier agrees that YouTube is absolutely key. fuelled by the smartphone explosion. In information is presented to mobile users. “YouTube videos are often the main online Domino’s Reed says that audio ads the UK, mobile now accounts for 9.7% of “Mobile advertising – and more broadly, tool to promote a single online therefore “undoubtedly allow the music to speak all digital advertising spend, compared to tablet advertising – is becoming an ever- it makes sense to use the official videos for itself – and so this will definitely be an 1.1% in 2009; meanwhile in the US, mobile important consideration to labels, given the to make pre-rolls in order to advertise a ongoing area of focus for labels”. He adds, accounted for 9% of online advertising increase in second-screen viewing,” he says. release,” he says. “From my experience, “I am certainly intrigued by the launch of revenues in 2012, up 111% from 2011. What’s pre-rolls are one of the most engaging ad iTunes Radio and how this could significantly more, eMarketer recently predicted global One of the key things about digital media, of formats; they always get a very strong CTR grow the reach, and potentially the targeting, mobile ad revenues would grow from $8.8bn course, is that it has lowered the barrier to (click-through rate) and have a reasonable of audio ads across mobile.” in 2012 to $15.82bn in 2013, with Google distribution and connected people globally, cost per click.” taking a significant 56% of the market. allowing the general public to do things that Paul Sinclair, SVP of digital media at Atlantic For him there is a very obvious downside, Records US outlines how audio ads can be And this could be just the however. “Although they’re watched by a used to drive sales. “We primarily leverage beginning, according to great number of people and generate a audio ads within streaming services to drive David Silverman, a partner lot of clicks, pre-rolls don’t seem to drive a more listening within that service,” he says. at PwC, who collaborated huge number of sales, as if people weren’t “Audio ads with companion banners are with the IAB US on their expecting to buy the track or album when effective at doing this. We have seen good 2012 Internet Advertising clicking on the pre-roll.” return and engagement on audio ads for Report. “As smartphones some online radio platforms, especially those get smarter, cellular As for the expense of pre-rolls, Vier says they with niche focuses or unique platforms that networks get faster and should be kept “pretty simple with only shots make them somewhat more ‘lean-forward’ user penetration of smart from the official video and text including rather than ‘lean-back’ experiences. We mobile devices increases, track titles and call-to-action, to keep a low primarily use those ad platforms to drive to the combination of production cost and be used as an awareness third party digital retailers.” personalisation and location driver”. will have tremendous Nevertheless, Stuart Aitken, IAB UK editorial Overall, video advertising grew 46% to appeal to marketers,” he manager and chair of the IAB’s Audio Council, £160m in the UK last year, according says. “We are just at the tip says that labels should be careful in their to the IAB UK. In comparison, online of the iceberg.” approach to audio ads. “One of the things audio ads are still very much a fledgling that came out of our research is that if you Reed suggests that mobile market. Nevertheless, the growth of music are listening to music and you hear an advert advertising should be given streaming services like Spotify has led the with music in it, it is quite confusing,” he says. a separate focus within Issue 87 | 19th June 2013 | Page 5 continued…

would have been unimaginable just 20 they are taking ideas like this and running to the songs using the Spotify web service years ago. with them. “We’re doing this confessional within the Facebook app.” Ministry Of Sound digital marketing booth at Download Festival for Ghost,” he coordinator Julien Vier lists his top The same is true of digital marketing, which He adds, “On face value this may not seem explains. “People go into a booth, say stuff three places to spend money on has seen some of the most innovative like an ad campaign. However, it reached into the webcam and it goes live on the online ads. campaigns of the last decade, from Boards the fans, gave them something incredibly band’s Facebook page. Fans can comment, Of Canada’s recent treasure hunt (which engaging, creating amazing fan content, and 1) Mobile ads: mobile ads are definitely the clip and share. We haven’t even announced saw codes hidden across the internet) to made them aware of the band’s new album, number one place to advertise a release. it and the teaser has over 2,000 views. We XL’s Album Transmitter campaign for Gil along with a direct tie-in to a subscription It has now become so easy to buy music like it because it’s something happening from your phone that it’s really important to Scott-Heron and Jamie xx’s We’re New Here, partner.” in the physical world that the internet is target mobile phone users through mobile which recreated the pirate radio experience gonna spread around. And it fits Ghost’s vibe For all the talk of innovation, however, any apps. On top of this, mobile ads always drive digitally. a huge amount of clicks, operate at a very perfectly.” advertising campaign must in the end low cost-per-click and also deliver good Wardner says that a lot of the fan deliver a return – whether that is in new fans, Domino’s Reed explains that, while Domino results in terms of sales. engagement campaigns her company runs increased profile or good old-fashioned sales. may not have an “innovation budget” for start out as “crazy ideas in our brains” and Even the prettiest, most innovative campaign 2) YouTube: whatever music you’re campaigns, as such, the label’s independent end up taking off on their own. “I love some will be worthless if it fails on these goals and promoting your tracks will most of the time nature “allows us to be agile and open of the Instagram campaigns we’ve run, like this applies equally digital as to press or TV. end up on YouTube, uploaded by the artist towards new, innovative concepts in online or by his fans, so I’d say it’s really important the recent one we did for The Black Angels marketing – and so our budgets can be Where digital does have an advantage, to run ads where your fans are going to look where fans were asked to Instagram an flexible to trial new ‘innovations’ which are though, is in accountability: with digital you for your music. In addition, YouTube offers a image that was their visual interpretation wide range of ad formats that don’t require aligned with the artist and their goals for the can measure click-throughs, purchases and of the album title Indigo Meadow,” she says. a minimum spend so it’s open to absolutely campaign” re-tweets to give an instantaneous idea of “The idea was that 13 images were to be everyone. whether your campaign is working and where chosen by the band to be the lyric artwork Overall, important steps are being made it can be improved. 3) Google search engine: a recent study for their Pitchfork Advance album preview. here. “We certainly focus on innovation, from Next Big Sound has pointed out a We got a ton of amazing photos, lots of including artist digital campaigns which It is this, according to Absolute’s Cardew, that correlation between Wikipedia page views people spreading the word about the album, involve technology and marketing hooked is key for digital advertising’s future. “People of an artist and album sales, explaining that and then a lot of traction on the Pitchfork together,” says Sinclair. “An example of this are looking for their marketing budgets to consumers are now typing artist names into search engines to find out more about the feature that was set up by the band’s might be leveraging a social API, such as we be a lot more accountable. With digital we artist and his new single/album. With the publicist. So it was a really great collaborative did with Spotify, Facebook and Matchbox can demonstrate the effectiveness of what dominance of Google as a search engine, I effort by the whole team and the band’s Twenty, where fans could comment using a we do,” he concludes. “For every additional think it’s essential to run search ads so that fans.” custom Matchbox Twenty Facebook Timeline digital advertising campaign, we can better fans will find out what the latest album of on all of their memories about each of the demonstrate the effectiveness and assess the artist they’re looking up is and where to Adam Farrell, creative director of Loma singles from the band’s catalogue and listen which platforms perform best.” buy it online. Vista Recordings in the US, explains how Issue 87 | 19th June 2013 | Page 6 CAMPAIGNS: The latest projects from the digital marketing arena

Pink Floyd & Spotify: The Pink Floyd song ‘Wish You Were Here’ Jay-Z inks exclusive deal handsets included in this promotion are the was made available to stream to all fans last Samsung Galaxy S 3 and 4 and the Galaxy Careful With Those Friday, with Spotify announcing that the with Samsung Note 2, with a potential reach of over 60m Tracks, Eugene entire catalogue would be made available The Carter family are royalty in handsets combined. once it clocked up one million streams. Tweet/like-to-unlock the world of brand sponsorship With Jay-Z on board, we can expect a huge campaigns have been around The Spotify Twitter account kept fans deals, with Beyoncé signing a amount of global marketing support from for several years, with acts from updated with milestone announcements (reported) $50m deal with Pepsi Samsung to promote the album beyond Kylie Minogue to your local such as 100k, 250k and 350k streams, with at the end of 2012 and her recent Samsung users. the Pink Floyd account joining the action promotion with clothes store Not only has Jay-Z secured $5m before garage band utilising social once the milestone was hit. actions to gain engagement and H&M. Now her rapper husband selling a single unit, he has also secured a provide fans with new content. It took three days to reach one million Jay-Z is getting in on the brand marketing budget that will be able to push Something that we’re not so streams globally, with 400k coming from action too, signing an exclusive the record into a wider mass market. the US and 208k from . Interestingly deal with Samsung for a reported How iTunes, so used to big name pre-release familiar with is the mechanism the only other country where ‘Wish You $20m. streaming exclusives, responds will be very of stream-to-unlock, used by Were Here’ appeared in the top 50 chart was interesting indeed. Spotify last weekend to release Poland, with 10k streams. As part of Jay-Z’s deal, Samsung purchased the Pink Floyd catalogue to all one million copies of his new album, Magna This initiative seems to be part of Spotify’s Carta Holy Grail, its users, including those on the latest strategy to be as transparent as and these will be free tier. possible with its play numbers, making distributed via a statistics about streams Magna Carta app to available to the public and Samsung Galaxy users trying to become more 72 hours before the attractive for artists that album’s official release. are still withholding from streaming services. It must be The app will be made pointed out that the Pink Floyd available on 24th June catalogue has been available and we presume it on Rhapsody/Napster, Rdio will provide additional and others for several years: content about the however, this is the first time new album before it is that the material has been made available on 4th made available to free users of July at 12.01am Eastern streaming services. Time. The qualifying Issue 87 | 19th June 2013 | Page 7 CAMPAIGN FOCUS: J. Cole – Born Sinner

Roc Nation artist J. Cole targeted Facebook post. each image square. Each image was accompanied by the pre-order link and Born Sinner was made fully available to released his second album, the #bornsinnercountdown hashtag. stream a week before its release via www. Born Sinner, this week. From clicking on the hashtag there bornsinner.com, a microsite that had been has been little interaction on Facebook Although released in the used as a hub for all album-related content. from people including the hashtag, same week as the inevitable The player that hosted the stream could be particularly compared to Twitter. US chart-topping Yeezus embedded on third-party sites as well as (Kanye West’s latest offering), shared through Facebook, Twitter, Pinterest, To promote the album through its Tumblr and email. release, J. Cole has embarked on a Born Sinner has been secret 11-date US tour that is sponsored The microsite has also been used to host accompanied by an exciting by D’Ussé cognac. The cities for each several stories from collaborators and tour date have been announced, but digital marketing campaign influential people from J. Cole’s past – such the actual venue details won’t be from Roc Nation and the as Miguel, Kendrick Lamar and Kay Cole released until the day of the gig. Tickets – as part of the Born Sinner series. All the Dreamvillain label, a small are being sold for $1 and are only entries are accompanied by monochrome imprint of Columbia. available on the day of each event on visuals that fans could browse through while a first-come, first-served basis. Details Two weeks before Born Sinner was released, listening to each entry. These stories have for each stage of the tour are being Roc Nation and Dreamvillain hosted also been uploaded to YouTube as individual announced via J. Cole’s Twitter account. exclusive listening sessions in physical entries, with the audio being accompanied So far three events have taken place locations where fans could hear the entire by a photo slideshow. album. They had to download the LISNR and highlights from the first event in app and find the exact geographical It’s quite similar to the Random Access Miami have already been uploaded to location the stream was hosted to access Memories series we saw for Daft Punk, but it YouTube, receiving 25k views to date. has still worked extremely well, with a variety the uninterrupted album stream. Fans were Overall the campaign has offered fans of hip-hop blogs covering each new story notified of the location through a series of huge incentives to engage resulting published. social media posts, using the geographical in J.Cole’s Facebook likes increasing coordinate system to give the precise Leading up to the day of release, Roc Nation by 15% week-on-week. However, location of where the parties were held. started a countdown campaign via Facebook this surge hasn’t been confined to There were eight listening parties in total to notify fans about the new album and build one network, with J.Cole’s Twitter held across the US, including New York, awareness, with each post receiving over 3k followers increasing by 30% week-on- likes. However, this might have improved if week. J.Cole was also the 18th most LA and Miami. A listening session was also (All data quoted here was drawn from Next Big Sound.) hosted in London’s Leicester Square, with the images used were optimised to appear mentioned artist on Twitter last week and the details being pushed to fans via a geo- in the Facebook news feed by making second for hip-hop artists, behind Lil Twist. Issue 87 | 19th June 2013 | Page 8 Tools Ticketmaster LiveAnalytics

This fortnight we look at In order to provide an additional layer of Ticketmaster’s LiveAnalytics insight, the company has partnered with geodemographic classifications provider platform, with which the Experian, licensing its Mosaic system. The company seeks to provide a latter provides consumer segmentation powerful set of B2B intelligence into 15 groups and 62 types according to tools that leverage its big postcodes. This allows LiveAnalytics to append information such as age, gender, data harvested through its household income, print media consumption, operations in the live market. social media usage etc. It’s important to bear Earlier this month, Ticketmaster announced in mind that each client is only able to see the international rollout of the LiveAnalytics their own customers’ data and not that from service, available now in the UK and others’ events. followed later in the year with launches in LiveAnalytics has two core self-service tools: Australasia, Denmark, Germany, Norway and tmAnalytics and tmMessenger. The former is Sweden. It was initially introduced in the US built on SAP Business Objects and consists of in 2011, where it worked with some of the a set of online CRM tools that allows clients to have, say, more children or family sort Crosby told us that at the moment the company’s biggest clients – ranging from the to generate analytics reports from their of shows, you can reach out to a promoter company segments LiveAnalytics pricing NY Yankees in the sports sector to venues events and attendees data, cross-referencing backed with data that shows how well you into eight tiers, with the bottom one starting such as Madison Square Garden and sister it in turn with the aforementioned Experian know your constituency around your venue; at under £5,000 annually for, say, a regional company Live Nation in the music business. segments. This means that you can see, for you know the family segments and how to venue that only sells about 30k tickets The company calls LiveAnalytics “a collection instance, that 64% of people attending your market to them”. She added that providing per year. Additionally, the company also of rich analytics products that allow clients gigs are 18-24-year-olds whose consumer sophisticated customer insight is not just provides bespoke insight services both for to better understand and engage with type is ‘urban cool’, typically characterised about improving how events are planned and ticketing clients and other parties (artists, their customers”. The service was built on by coming from a household with income executed, but that it can also help to open managers, sponsors, etc.). Built on the same Ticketmaster’s data warehouse which, in the X, who read Rolling Stone etc. tmMessenger other possibilities. “With these tools you core datasets, this can deliver audience case of the UK, includes over 11m customers then allows clients to take action upon know your audience a lot better and they can and industry trends – including affinity and who attended a concert, show, game or those insights through a mass email be used as part of marketing campaigns,” propensity scores – for insights such as theatre play that is ticketed by the company. solution powered by ExactTarget, of similar she says. “And in the case of music, the where to locate a new festival, which event In talks with Music Ally, Ticketmaster’s VP characteristics to MailChimp. geodemographic segmented data also has to sponsor, discover which brands have the of insight Sophie Crosby explained that the Discussing how a venue could use great potential for pitching to brands in order most traction with different audiences and historical data goes back five years. LiveAnalytics, Crosby explained: “if you want to secure sponsorship opportunities”. so on. Issue 87 | 19th June 2013 | Page 9 BEHIND THE CAMPAIGN Disclosure

Disclosure’s debut album, Building the online presence Settle, entered the UK album LF: “They were big on SoundCloud and pretty charts at number one earlier good on Facebook. They ran it all themselves this month and was the result and it was all very personal. One thing they were very keen about was making it very of a steady build through much them [doing it]. We wanted to keep social media. The act are that same tone so it didn’t feel like it was also part of Island/Universal coming from a big label. There must have Music Group’s move into been around 40k or 50k fans on Facebook D2F ticketing for its newer [before they signed to us]. With quite a lot [of new signings] we start from scratch and it’s a signings – something the label real struggle, but they had that existing says will grow in the coming fanbase we could work off which made years. things much easier for us as it was already running by the time we got involved.” We spoke to: NM: “When we came on board, it was really Natasha Mann (senior product manager) important for us to start a website. They didn’t have their own official site so we Alastair Smith (ecommerce and artist started that.” When they did their first live show in They have an open rate of 40%.” partnerships manager) December, we did a simple email sign-up AS: “We have been doing ticketing for about around the time ‘Latch’ was kicking off telling Lucy Fortescue (digital coordinator) D2F commerce four-and-a-half years but there has always fans to sign up to access tickets exclusively been a challenge for the promoters and the about the campaign, ticketing and working AS: “Throughout the campaign, we had big for their first live show in Brixton in agents about why we should be selling with a variety of partners from Boiler D2F and D2C elements. Soon after we signed December. We built up the database and we tickets on behalf of the acts. We say this just Room to The Guardian. them, we put a website together and talked gave away a free download as well. We needs to be fully a part of the marketing mix them through how important the D2F email managed to sell 100% of the tickets for their these days. We partner with See Tickets on a database is these days. At Island, we see an first gig.” email database for a band – and not to white label solution [for fulfilment]. We have discount social media – these days as their LF: “The way we did it with Disclosure, that’s sold up to 40% or 50% [of tickets] for some pension. This is the only way they are going the footprint we use for everything else as it Academy venues and for pre-sales we were to be able to guarantee they will have that was such as success. We now have about given 100% of venue allocation for some direct relationship with fans in the future. 15,000 people on our database – all people shows. That shows the strength of the who have actively signed up to see them live. reaction of when we put tickets on sale D2F.” Issue 87 | 19th June 2013 | Page 10 continued…

LF: “It’s been such a success that [ticketing SoundCloud Universal had never worked with them was driving more people to our products. It’s companies] have looked at how we have before, but we worked out a deal to a couple the first time they ever did that.” NM: “A lot of the success of ‘White Noise’ was connected directly with the fans and that is of the tracks on demand.” down to the digital spread of the track. Zane why we are getting the opportunity to do it Lowe [on Radio 1] had the first play and we LF: “It was also the first time they let anyone The face logo with other artists now. It was a bit of a put it up on SoundCloud around the same embed their player on a band’s website. NM: “With the band it’s really important that struggle when we had the first conversations, time and it went bananas. The knock-on When it went out, we skinned up the we stick to the brand ethos which is the face but because of the way we did it and the way effect of that was that media could see the Disclosure site, creating a splash page with [motif]. We used that in outdoor campaigns. we planned it [they were convinced].” connection everyone was having online with the player in the middle with all the D2C and We have been taking over other people’s AS: “There are obvious political factors to it as well as the viral spread of the track. We iTunes links down the side. We had a huge hit posters and outdoor sites with clings. We’ll bear in mind with ticketing deals done direct had to pull the track forward for sale and rate onto that homepage. Boiler Room also be doing something fun at Glastonbury with with venues and big corporations that own within 24 hours it had gone to number two had it on its main page but it just meant it the clings. We had sticker campaigns and the venues. A lot of the time, the venues will on iTunes and within 48 hours it had gone have to sell 50% of the house allocation, but into the top 40 on the Official Chart on the there have been times where we have been Sunday.” the strongest ticket retailer.” Boiler Room live stream

• Digital’s share of total album NM: “It feels that it was digital that has broken sales – 60% this band. It was important for us, around the album launch, to do as many digital things as • Tickets sold D2C to date – 8k possible and to include all the fans from all over the world. One of the ideas was to do an • Facebook fans – 228k album launch and stream it live with Boiler Room.” • UK Facebook fans – 74k LF: “There were 190,000 unique viewers for the live stream.” • US Facebook fans – 25k AS: “It’s about to be [made available on • French Facebook fans – 16k demand]. We wanted a partner to keep them in a dance world. We didn’t want to get a big • Australian Facebook fans – 12k corporate sponsor to sponsor the stream. We partnered with Boiler Room who the boys • Polish Facebook fans – 11k had come through with over the years. Issue 87 | 19th June 2013 | Page 11 continued…

projections on Big Ben all around points that Guardian pre-release stream and distributed at random we feel are relevant.” to people who pre-ordered NM: “We pre-streamed the album with The it. This was mainly using the LF: “The face is a real brand so to give it back Guardian on the Friday before the release. ticketing, free download to the fans we created an app for Facebook The Guardian was chosen because we data and the face app data where they can upload their photos and click wanted to not just speak to the converted. we had gathered over the to ‘Disclosure’ themselves. Through that we We felt that The Guardian had supported the prior months. Two weeks encouraged people to use it as their profile band and they had put them on the front before the release, we had a pictures. Then we chose out favourite ones cover of The Guide [supplement] a couple of competition where fans and they went into the album booklet. That weeks before. The Guardian felt like the right could get the chance to all comes from the Facebook app.” home for them. It’s broad enough to be attend the launch party on speaking to the kind of audience we feel the Monday if you pre- would buy into them. We ordered the album through didn’t want to go too mass the website along with an mainstream with whom we unreleased remix.” streamed the album. We wanted it to feel it was NM: “We had a standard relevant and not lost on a album and a digital deluxe site. Equally we didn’t want album with iTunes and we to pigeonhole it in a smaller, knew it was going to be niche dance site. We felt we really important for us. Its had already spoken to those first week share [of sales] people and they had was around 60%.” NM: “When you don’t have an artist [available already been converted.” AS: “iTunes was the strongest for pre-orders because of touring commitments] the digital and we had that data leading up to it. We space is really important. Any live streaming Album pre-order didn’t have the album up for pre-order as we can do, any additional content that can go AS: “In terms of gathering early as we probably wanted on iTunes, but worldwide [is really important].” we had the four strong weeks leading up to it pre-orders, we focused on LF: “We are building a new website as well so and we had very strong sales each day of the two main retail outlets – it has more of an international feel to it. It will week. The band and management are D2F and iTunes. On their go live hopefully within a month.” website with D2F we offered completely open to letting people hear the extra incentives. 200 of the music – which is why about four or five songs deluxe albums were signed were on SoundCloud prior to release.” Issue 87 | 19th June 2013 | Page 12 Music charts: 12th - 18th June 2013

Scrobbled... Last.fm Streamed... Spotify UK Grown... Next Big Sound 1. Daft Punk - Get Lucky 1. Daft Punk - Get Lucky 1. Justin Bieber 2. Daft Punk - 2. Naughty Boy - La La La 2. Taylor Swift 3. Daft Punk - Lose Yourself To Dance 3. Ray Dalton - Can’t Hold Us 3. Rihanna 4. Queens of the Stone Age - My God Is The Sun 4. Passenger - Let Her Go 4. Bruno Mars 5. Queens of the Stone Age - I Sat By The Ocean 5. Robin Thicke - 5. Jennifer Lopez

Tagged... Shazam Blogged... Hype Machine Watched... YouTube 1. Robin Thicke - Blurred Lines 1. Milky Chance - Flashed Junk Mind 1. PSY - Gangnam Style 2. Daft Punk - Get Lucky 2. Grouplove - Ways to Go 2. P!nk - Just Give Me A Reason 3. Macklemore / Ryan Lewis - Can’t Hold Us 3. ScHoolboy Q - Collard Greens 3. Belinda - En la Obscuridad 4. P!nk - Just Give Me A Reason 4. MØ - Waste Of Time 4. Macklemore / Ryan Lewis - Can’t Hold Us 5. 2 Chainz & Wiz - We Own It 5. Empire Of The Sun - DNA 5. Macklemore / Ryan Lewis - Thrift Shop

Bought... iTunes UK Shared... ShareMyPlaylists Tweeted... Twitter charts - Hype Machine 1. Robin Thicke - Blurred Lines 1. - Happy 1. Opus III vs Above & Beyond - Breaking a Fine Day ... 2. Daft Punk - Get Lucky 2. Calvin Harris - I Need Your Love 2. Bridgit Mendler - Hurricane 3. Macklemore / Ryan Lewis - Can’t Hold Us 3. Macklemore / Ryan Lewis - Can’t Hold Us 3. Wiz Khalifa - No Sleep 4. Imagine Dragons - Radioactive 4. Macklemore / Ryan Lewis - Thrift Shop 4. Asher Roth - Pass That Dutch 5. Selena Gomez - Come & Get It 5. Swedish House Mafia - Don’t You Worry Child 5. Kavinksy - Odd Look

Consumed... Big Champagne - Ultimate Charts Overall... 1. 2 Chainz & Wiz - We Own It 1. Daft Punk - Get Lucky 2. Robin Thicke - Blurred Lines 2. Macklemore / Ryan Lewis - Can’t Hold Us 3. Daft Punk - Get Lucky 3. Robin Thicke - Blurred Lines 4. Macklemore / Ryan Lewis - Can’t Hold Us 4. P!nk - Just Give Me A Reason 5. Selena Gomez - Come & Get It 5. Selena Gomez - Come & Get It Sandbox is published by Music Ally. Music Ally is a music business DIGITAL MARKETING SERVICES Contact Music Ally: information and strategy company. We focus on the change taking place 22 Peters Lane in the industry and provide information and insight into every aspect Campaign support services: London of the business: consumer research analysing the changing behaviour • Strategy EC1M 6DS and trends in the industry, consultancy services to companies ranging • CRM and Email tools Tel: +44 (0)20 7253 7600 from blue chip retailers and telecoms companies to start-ups; and • Digital housekeeping www.MusicAlly.com training around methods to digitally market your artists and maximise • Social networking updates [email protected] the effectiveness of digital campaigns as well as events. We are now • Search and online advertising Registered company number: 04525243 also offering digital marketing services to labels, artist managers, artists • Mobile applications VAT number: 858212321 and other music related companies from campaign advice and strategy through to implementation and execution. • Blogs and online PR outreach • Measuring campaign effectiveness Clients include: Contact Karim - [email protected] or +44 (0)20 72537600 EMI, MTV, Sony, Tesco, Nokia, Google, Microsoft, Gracenote to discuss your digital marketing needs. Universal Music, Warner Music, Domino, and many more ... © Music Ally Ltd. For the purposes of personal, private use the subscriber may print this publication or move Training services: it to a storage medium; however, this publication is If you have a digital campaign related story for SandBox, intended for subscribers only and as such may not • In house company mentoring be redistributed without permission. Subscribers please contact [email protected] • Workshops agree to terms and conditions set up on the Music Ally website, except where a separate contract takes • Digital briefings precedence. Music Ally has taken all reasonable If you’d like to talk to us about our digital marketing/mentoring • Digital MOT sessions endeavours to ensure the validity of all items reported training services, consultancy or specific research services, within this document. We do not assume, and hereby please contact Karim Fanous [email protected] Music Ally has delivered digital marketing training sessions for a disclaim, any liability for loss or damage caused by wide range of clients including Universal Music, EMI, AIM/London errors or omissions. In particular the content is not intended to be relied upon in making (or refraining Connected and many individuals If you’d like to subscribe, add new subscribers, or talk about from making) investments or other decisions. We cannot be held responsible for the contents of any a corporate deal please contact [email protected] Check out Music Ally’s digital marketing courses here linked sites. Front cover image credit: Martin Fisch Contact Anthony on [email protected] or www.flickr.com/marfis75 +44 (0)20 72537600 to discuss your training needs