Music Marketing for the Digital Era Issue 125

Home , Aphex Twin, Can We Dance, Jason Flom, Lava Records, The Adverts

05 Tools Interlude 06-07 Campaigns TLC, Trevor Jackson, Beatie Wolf, Fall Out Boy 08-10 Behind The Campaign The Vamps

JANUARY 28 2015 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 125

RICH’LI$T HOW PLAYLISTS ARE RESHAPING MARKETING COVERFEATURE Playlists were mainly used, in the early days of Spotify, to hook in users or – to deploy the eloquent phraseology of investor Sean Parker – grab them “by the balls”. But with streaming’s inclusion in the charts in numerous markets, playlists offer a marketing channel that is growing in power at a rate of knots. We speak to those placing hefty bets on the sector about what works, what doesn’t work, how they can make careers and where they need to evolve next. RICH ’LI$T HOW PLAYLISTS ARE RESHAPING MARKETING

“ laylists,” George Ergatoudis (head of on Spotify. Even before that deal went music, BBC Radio 1) tweeted back through, all three major labels operated Pin July 2014, “are the future.” He their own sub-brands for promoting continued, “Make no mistake. With very playlists on streaming services, in the few exceptions, albums are edging closer form of Playlistme (WMG), Filtr (Sony) to extinction.” and Digster (Universal), while numerous Playlists, of course, had been on playlists from indie labels such as 4AD and the music marketing agenda for some Domino were to be found on Spotify et al. time, largely thanks to their popularity “We’ve certainly seen a shift in in Scandinavia. But this was gears when it comes to playlists being the moment they really went considered as a key part of the marketing mainstream, prompting an mix,” Playlists.net CEO Kieron Donoghue avalanche of think pieces on the explains, mulling over the past year. death of the album and the rise of “For example at Warner Music, our this new musical format. global playlist brand is now Topsify Clearly, though, [Playlists.net Ergatoudis was bought a collection not alone in his of Spotify playlists thoughts. In October curated by 2014, Warner Music Topsify in January bought British 2014] and we’re startup Playlists.net, in the process of which aggregates rolling this out and recommends to all territories playlists created that we operate in

2 | sandbox | ISSUE 125 | 28.01.15 COVERFEATURE and where Spotify also has a presence. an early boost in April 2013 when Sean It’s a very important part of the global Parker added it to his popular Hipster marketing mix for us, especially as we’re International playlist, which at the time seeing strong growth in streaming. So had more than 800,000 subscribers. we’re investing in that area.” “The moment Lorde’s ‘Royals’ was added to Sean Parker’s popular Kill ‘list: what makes Hipster International playlist on Spotify, a playlist fly or fail? we saw an immediate reaction around the world,” Lava Records CEO Jason Flom told Matt Allard, Universal Music UK’s head of Forbes. “Six days later, ‘Royals’ debuted streaming, says, “We have put a fair bit of on the Spotify Viral Chart. The plays just effort into to creating credible playlists, kept growing as word of the track spread trying to become a trusted source of across their network.” recommendation, to help to drive music Will Tompsett, 4AD’s head of online discovery. Playlists aren’t necessarily a curated playlist with a clear context and towards sales figures in most territories.” communications, says, “Lorde is always new format but they are a good starting good mix of music builds over time and What’s more, this effect is not just referenced [in terms of playlists breaking point and discovery tool.” increases in importance to break new limited to one country, with the biggest an act], but there are plenty more In fact, so big has the shift towards artists,” he says. playlists helping new artists to break on examples that feed into wider promo and playlists been in the UK music industry “Professionally curated playlists an international level, as Spotify’s Will exposure. For us [4AD], Future Islands that Donoghue believes the UK has are normally created with a very clear Hope explains. topped the Viral 50 chart following the largely caught up with Scandinavia – context and mood in mind,” Lagerlöf adds. “ A lot of our more popular release of ‘Seasons (Waiting On You)’, with the exception of the above-the-line “Professionally curated playlists can also playlists are popular on a global which definitely helped to contribute to marketing for playlists (for example on be updated and do not get old or out of level,” he says. “So suddenly you the immense buzz around the new record public transport and TV) that has become date. They increase in popularity over have a marketing campaign and their live performances, building relatively common in Sweden. time.” developing in other countries momentum into the album and building So what makes a good playlist? Spotify This last point brings two important without having to spend a follower base on the service.” (The director of label relations, EU and ANZ, advantages: firstly playlists can be kept anything band’s appearance on Letterman Will Hope says that it is important to fresh, whereas albums remain largely to get that artist into that and the subsequent sharing of the distinguish between “lean back” playlists – static (even with the current trend market. ” YouTube clip arguably, however, did those designed for radio-style background for deluxe and anniversary editions). As a recent example of this, he cites most of the heavy lifting at the start.) listening – and “lean to” playlists, where Secondly, playlists can be used to break Welsh/French pop folk band Shake Clearly, the reach of the playlist where the focus is on active listening and new acts, with artists benefitting from Shake Go , who he says have been your artist figures is important. So too introducing new talent. “What we often massive exposure when added to a well- building international attention thanks is the positioning of your track on that advise labels to do is think of established list, which then builds as other to Spotify playlists, with France being the playlist, with the earlier obviously being what type of consumers this playlisters adopt the track. first territory to pick up on the act. the better. Indeed, so important is the #1 [playlist] is for and what they Donoghue says, “If a track is seeded in a playlist slot that Sandbox understands want to use it for ,” he explains. lot of high follower count playlists then the Check ‘list: the career- there can be significant jockeying between Johan Lagerlöf, CEO of Sweden’s X5 viral effect of people listening to the song, changing power of a playlist label heads within the majors for their Music Group, identifies two key skills as well as seeding it in their own playlists, tracks to kick off record company playlists. in curating playlists: creating the right can help to place a track in viral charts The most famous example of this The other side of the coin is that no one context and keeping your playlists and then, ultimately, the official charts phenomenon, however, is probably Lorde: wants their tracks to go last on a playlist regularly updated. “A good, professionally – especially now that streaming counts her breakthrough track ‘Royals’ received and risk them being ignored by the “tl;

3 | sandbox | ISSUE 125 | 28.01.15 COVERFEATURE dr” generation with their short attention spans. This means that playlisters should shrug off the temptation to cram every last song onto their playlists: Donoghue AVICII... PLAYLIST PIONEER says that between 40 and 50 tracks is “the sweet spot”. With all this in mind, it is little surprise that labels are throwing their weight behind their own playlist operations. Tompsett says that playlists, as well as promoting acts, can help express the personality and voice of a label. Despite this, Tompsett says that artist playlists are “definitely” the most successful – “which is no surprise as fan conversion rate to artists online is always a lot faster and bigger than that for labels”. “We curate playlists as a label, like we do on other services too, and have a lot of fun trend. And while labels may have the just choose your music provider – Spotify, doing them,” he explains. “But like social slight disadvantage here of being obliged YouTube, Deezer etc. – and then add and media we appeal to a more niche audience to favour their own artists (although most listen,” he explains. “In this way it will be and it takes us longer to build an audience.” label playlists do feature music from other easier for media companies, labels and Avicii is not just a globe-straddling EDM star who’s disquietingly sources), their access to music and artists artists to market the playlists on the fond of the odd banjo; he’s also something of a pioneer in the Bucket ‘list: where next for should set them apart, with premiering internet, as the user does not need to have use of Spotify playlists to premiere his music. the humble playlist? new tracks on label playlists likely to a certain music service provider. The same In 2013, the Swede announced to his Spotify playlist become more prevalent as playlists grow playlist works for all of them.” followers that he would be premiering tracks from his debut For the moment, then, playlists are largely in influence. The next few months should be album, True, via the playlist, with his followers receiving mobile dominated by labels, streaming services Leo Nascimento, MD of Deezer Spain, fascinating for playlists, then, as the wider alerts as new songs arrived. The playlist also featured a mix of themselves and artists. But this may not sees this as the next logical step. adoption of streaming services gives the snippets from the album before it was fully released, serving as last forever. Indeed, as traditional media “ Eventually people might think, new format/compilation/radio (delete as a teaser. starts to realise the value of playlists – ‘Why should I spend my time appropriate) a massive boost. One of the key helped in no small part by Ergatoudis’s fighting to put a song on the radio “Audiences are going to get bigger and advantages of this strategy tweet – they are likely to increasingly if I can put it on my playlist and bigger, as streaming and subscription – which promoted both target playlists as a way of engaging with find a massive audience?’” he says. become more mainstream and go album and playlist was the general public and staying relevant to “If people reach the point where their beyond the early adopters,” says Allard. that the new tracks arrived shifting patterns in music consumption. playlist is a reference of the genre, they “Playlists are still in their infancy in the Spotify libraries of (The BBC’s Playlister playlist already could definitely do that.” and I don’t think anyone has got Avicii’s playlist followers has more than half a million followers on Also likely to make an impact in the answer, exactly. There is still automatically, a genuinely Spotify, for example.) the future, according to Lagerlöf, is experimentation to take place friction-free way of sharing This means increased competition for the “platform-independent” playlists, to see what works. But we are new music with fans. labels, which have, up to now, enjoyed something his company is developing. growing our brands and audiences the benefits of being early to the playlist “This means that, as a user, you can and there is big potential .” :)

4 | sandbox | ISSUE 125 | 28.01.15 TOOLS INTERLUDE

From the Bob Dylan messenger campaign Goldfish, a cheese cracker brand. It using his iconic ‘Subterranean Homesick created a series of interactive adverts Blues’ video back in 2007 to Pharrell’s that were 60-90 seconds in length. 24-hour ‘Happy’ video and Bombay Bicycle They shared the first series online Club’s ‘Carry Me’, interactive content is and offered people the ability to see increasingly woven into music campaigns. all the possible paths and choose We catch up with Interlude, no stranger to their favourite. The most popular music:)ally readers, to see where interactive path was aired as a TV advert with video fits in. a call to action to influence the following week’s outcome. And so Interlude has grown rapidly and has the second series was launched to created interactive music videos for Bob continue the cycle. Dylan (him again), Coldplay and Wiz Khalifa All this technology is really amongst others. It has also worked with evangelised by the brilliant content brands such as Pepsi, Subaru, Shell and that is produced. The Bob Dylan more to create interactive content and interactive video produced 16 spoof advertising. TV channels where those on screen “Interlude is the nexus of content and were lip-syncing to ‘Like A Rolling technology,” explains Matan Ariel, the Stone’ in order to create a realistic company’s business development director. feeling of flicking through a Bob “It allows interactive video to become the Dylan-saturated TV. new medium for digital stories.” Interlude has recently signed The technology is made up of three a deal with Warner to become its parts. First, the ability to create interactive partner of choice on all interactive videos with several different scenarios. and Google+, with Twitter and Tumblr understand the choices taken by your content. This includes creating This tool (Treehouse) is open to the public integration planned for the future. fans within your video. This can lead to interactive music videos as well as broader to use for free with advertising or for $250 sandbox asked about the prospect of interesting findings. music content that is not restricted by the per month without ads. The adverts are native video (uploading a video onto a One application of this was with bounds of a music video. currently short pre-rolls but will soon social media platform’s server versus Coldplay’s ‘Ink’ video. The band released Finally, does the extra work and cost become interactive. This allows users to sharing a link), but as an interactive video the interactive video first and analysed of production justify the result? Interlude stitch together hundreds of videos and comes in the form of (potentially) hundreds the most popular path – which it then benchmarked its videos results and found create several paths for their viewers to of clips and graphic elements this is turned into the official release for the that they perform significantly better potentially take. currently not possible. linear version. This could be used as a call across all content types. This included up The second part allows the viewing The third part is the analytics provided to action to fans – influence the official to 3x average views per user (versus online experience to take place seamlessly for each video. Unlike usual number of video by sharing your path with friends and video average of <1 view), 70-90% higher across all platforms and devices. Currently views, time of views and demographic ensuring it is picked for the final version. engagement rates, up to 8x higher sharing the videos can play within Facebook details, interactive videos can help you Another application was done by rates and 2-5x CTRs. :)

5 | sandbox | ISSUE 125 | 28.01.15 CAMPAIGNS The latest projects from the digital marketing arena TLC ARE BACK, BACK, BACK – COURTESY OF KICKSTARTER 12 TRACKS IN 12 WAYS

Not entirely digital per se, but most definitely a creative way of releasing an album. Trevor Jackson – the London- based creative director, producer and visual artist – is releasing new music across 12 different formats.

The ‘album’ , called F O R M A T, contains 12 tracks and each will be released separately as 7-inch, 10-inch, 12-inch, TLC haven’t released new material since celebrity backers CD, mini-CD, cassette, 2002 but now the group are back and includes Bette Midler, USB, MiniDisc, DAT, VHS, taking to Kickstarter to fund their new Soulja Boy and Russell 8-track and reel-to-reel. (and, reportedly, last) album. Simmons. The Vinyl Factory will produce scarcity album examples such Wu-Tang The campaign set and distribute the album that will include Clan’s single-copy album, which proved They have chosen to not go the usual label out to raise $150k and a selection of unreleased, re-edited a big success. The coverage for Trevor route and instead are involving the fans right is currently up to (as and re-mastered tracks from the Jackson’s F O R M A T will certainly spark from the beginning of the process. It certainly of 28th January) the archives that Jackson has built over interest around the album, although the is a good way of creating buzz early on for a $234k mark, with the campaign finishing on the years. actual purchasing of the different formats band that hasn’t been active for a long time. 19th February. The group broke Kickstarter The album will have an accompanying could prove to be difficult as not many The campaign website ensures records as the fastest-funded pop project in exhibition at The Vinyl Factory, offering people will perhaps have access to the the swansong album will contain the the platform’s history, passing its target in people a chance to listen to it in full, audio hardware needed in order to be able recognisable TLC ‘sound’ and will be, it just four days. see the audio-visual artwork as well as to listen to the music. claims, recorded and produced entirely on Kickstarter has earlier helped to purchase the limited-edition version. Trevor Jackson has released a teaser the band’s terms. crowdfund projects like Aphex Twin’s Considering many of the formats are of the album on SoundCloud, with the The campaign has been gathering a lot of Caustic Window album and Neil Young’s ostensibly obsolete, the exhibition is likely full release following in February. The press and social media coverage, including Pono. The platform opened up for projects to attract people for the full listening standard digital and vinyl formats of the some high-profile donations. Katy Perry, a in Scandinavia and Ireland in September experience. album will be available one month after big fan of the band, donated $5k and other last year. sandbox wrote in April last year about the release of F O R M A T.

custom video pieces and photos. The project started around a year ago and other artists who are part of The Drop include Skylar Grey, Aloe Blacc and Haim. The partnership is US-only and is an example of how brands can tap into their demographics through emotional branding. McDonald’s and other brands such as Coca-Cola and T-Mobile are heavily Here’s a campaign with a message so available on YouTube. invested in these activities, positive and sweet it managed to melt our Wolfe’s channel is the first artist channel Fall Out Boy’s new album campaign especially around summer festivals and (normally) cynical hearts. Beatie Wolfe has, to launch on PopJam and currently has includes being part of Spotify’s The Drop sports events. With the decline in recorded together with Utley Foundation and in the 37.6k followers. The competition got 20k this month. The Drop’s dedicated website music sales, brand partnerships can prove aid of NSPCC’s ChildLine and War Child, responses in two days. contains exclusive content and includes a to be invaluable for artists, both in terms of created a charity single – ‘ Kids Wish For PopJam is aimed at 7-12-year-olds. It’s countdown ‘ticker’, giving information on marketing and for wider income streams. The World ’. a mixture of Instagram and Snapchat, with when the drops are happening and what Fall Out Boy have also been doing a a public feed of shared photos – but where fans can expect. This includes exclusives Facebook Q&A via iTunes’ Facebook page The single is a re-recording of Wolfe’s kids can doodle or put stickers on top of such as behind-the-scenes footage, as part of the album release as well as original song and was set out as a the photos. According to Annem Rehman written lyrics and curated playlists. offering exclusive content on the Shazam competition on children’s ‘Instagram from Mind Candy, PopJam’s parent platform. The Spotify campaign has proved platform’, PopJam. Kids could send in company, the platform is only in the UK Spotify’s The Drop is sponsored by successful and the new album, American their #1 wish for the world to the singer’s for now, with a US launch happening later McDonald’s and every month features Beauty/American Psycho, is out now official channel on PopJam and the 10 this year. a high-profile artist album release, with and looks like it’s heading for #1 on the finalists were chosen by Beatie herself to Wolfe is a singer/songwriter who last exclusive content such as album artwork, Billboard chart this week. perform in the recording studio with their year released her album 8ight, marketing own version. it as the world’s first 3D interactive album The re-recorded version is available for app. The app was created by Design I/O. It CORRECTION: Due to a glitch, in the last issue of sandbox we wrote that the purchase on iTunes from 8th February, is available for free and can be used with website for Panda Bear’s new album did not contain a pre-order link. It, of course, with all the proceeds going to charity. a Palm Top Theatre device to convert a 2D does contain a pre-order link. Heads duly hung in shame. There’s an accompanying video for it display into 3D layered view.

7 | sandbox | ISSUE 125 | 28.01.15 MAINFEATURE BEHIND THE CAMPAIGN THE VAMPS

8 | SANDBOX | ISSUE XX | DATE XXXX BEHIND THE CAMPAIGNTHE VAMPS

Seeding content: phase 1 – cover versions so we just helped For about six months, they carried on hone it to try and uploading covers while we were working make it as good as with them on the first record. We started possible. honing their social media and giving it a A lot of it is in the clean up with a slightly more professional band’s hands when touch – making sure they were doing they do stuff like that everything they could to utilise social media so we don’t have too in the best way. That included how we much of an input on were seeding out the videos, building up what they say and do on Twitcam. It’s very the database – as the mailing list is really much just them and their fans. important – and building up a fan mechanic on the website . That didn’t take off quite Hashtags and competitions as well as we would have liked. It’s still a They announced the first single on prominent part and some fans still use it. the band’s Twitter and on Twitcam at Twitcam is not the same time. We had the hashtag necessarily Seeding content: phase 2 – original songs #PreorderTheVamps and it was trending They were always uploading covers but the cleanest worldwide. A week and a half later we put up started to put up one or two of their own or best looking their first music video and it got to 1m views tracks that they had written. But they were way of in a matter of days. mainly saving all their own material for the connecting Throughout the campaign, the band have album. It was all about build up and the with fans but been constantly engaging with their fans. fanbase was growing and growing. They it is something We give them ideas occasionally for content weren’t doing many shows but they were they have done and explain how we are structuring things concentrating online and always talking to from the start socially and virally around releases, but it is their fans. and we didn’t all down to them constantly engaging with want to change their fans. For an act that ostensibly formed online, it was only natural that digital was placed front and that centre in the marketing of The Vamps. TOM PEACOCK, digital marketing manager at Virgin Twitcam as the primary destination Hashtag competitions have been pretty EMI, explains how the band built a following via covers before releasing their own music, why In September 2013, we announced the first Twitcam was the centre around which everything else orbited, the role social media played single – ‘Can We Dance?’ – on their official (they won Best Use Of Social Media at last year’s Music Ally Digital Music Awards) and why Twitter account. iTunes previews became a key way to get people to hear their music. The big thing they have always done from the start is Twitcam . Twitcam is not Establishing an online presence was involved, putting out their own music necessarily the cleanest or best looking way before the label got involved and building their own fanbase. It was a of connecting with fans but it is something The Vamps all met over social media. small but impressive online presence for a they have done from the start and we didn’t Individually, they were all uploading cover band that was totally unsigned and had no want to change that. It’s the way their fans versions of popular songs of the time. support from a label. They got management connect with them and they get anywhere Brad and James from the band met by and then signed to Virgin EMI. They signed between 5,000 and 10,000 unique viewers watching each other’s YouTube videos and as The Vamps. The label didn’t create them. every time and that is where we do a lot of they decided to meet up and start a band. They created themselves and then signed our major announcements. It’s something They started on their own, before the label to us. very organic that the band had always done

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As soon as we came back from that we on the platform. If it’s Instagram video, came straight into the ‘Wild Heart’ single. then use that. It can be lazy to just post an All through this, the band are still doing image on Instagram and let it feed through Twitcam and still engaging with their fans by to Facebook. You have to tailor what you running competitions and so on every day. are doing per platform and that is what we tried to do in almost every case – be it an Engaging with a fanbase that lives online announcement or a promoted post when the When you have a young fanbase that is singles are coming out. that hungry, you do have to be doing stuff If a tour or a single is being announced, online all the time to keep them engaged they will do it on Twitcam and then we’ll up and keep them as your fans. To The Vamps, load it to Facebook. consistent as well as posting images and that comes naturally because that’s what grown there. We put singles on Spotify on They all have their own personal Twitter short videos on Facebook . They picked up they want and that’s what they like. It release. Each single had an EP with it. accounts and their own Instagrams but they Instagram quite early as a band. It all really comes pretty easy to them to stay engaged We also used the iTunes preview to integrate really well with the official band works in keeping their fanbase engaged. on social media as they love it. It’s the very entice people to buy. That’s something not a channels. Their fanbase is just hungry for more – more spine of the band. It’s how they started and lot of people do. There are always 30-second When we need to announce something, covers and more music. it’s in their DNA. or 90-second previews on iTunes and we they write the copy based on the things we They did a great event at Westfield We launched ‘Wild Heart’ with the would turn them on at certain points in We also used need them to cover off or we’ll give them [shopping centre in London] around their #TheVampsWildHeart hashtag and asked the campaign and tell people the iTunes the iTunes rough copy and the rewrite it. Then we first single. The video from that showed for fans to upload photos of themselves previews were now on. Then we would put preview as a handle the schedule and the timings so they them in an entirely new light. We had got just to hone the excitement the music had up the album or EP sampler and that would way to entice don’t have to worry about it. them to the stage where they were a huge around the announcement of the single. bring fans in. It wasn’t until the singles after people to buy band. The amount of kids who turned up at The single after that was ‘Last Night’ the album that we started embracing Spotify stuff. That’s Building and growing the database Westfield made it look insane. That really that then led into the album. The band and sharing it. We always did playlists with something We’ll do things like free downloads or a helped us in the lead up to the single. announced the release of the album on the band on Spotify so they always had a not a lot of sign-up to win tickets. The stuff we did on That single got to #2 in the UK and Twitcam and it trended worldwide. We put presence there. We also tried to get them people do Facebook at Christmas was to grow the missed out on #1 by about 1,000 sales. up album samplers via Instagram and they into Spotify’s editorially created playlists. database. We like to do things that are The second single, ‘Wild Heart’, followed in also fed into Facebook and YouTube. database-only so when we fill the database January 2014. So that Christmas [December Tying all their social media we’ll do, for example, tickets to a show that 2013] we wanted to do something where Multi-formatting channels together are fan-only and only people on the database The Vamps gave back to their fans. Their fans are heavy digital consumers but You have to do your best with the official can go. It’s really rewarding being part of We were going to do an advent calendar something we like to look at is different content but at the same time the band have these email lists we hold for the band. :) with something new every day but the formatting. We released different versions their own Vine account and what they put band were really busy and unfortunately of the singles and they weren’t all on digital on there is just behind-the-scenes content. WANT TO FEATURE IN we couldn’t get that much content. We did platforms. When Facebook video started getting bigger BEHIND THE CAMPAIGN? a Christmassy photoshoot and also did They do have a Spotify fanbase, but towards the end of last year, we moved with Marketing people: do you have a campaign you are something through Facebook where fans leading into the album the fanbase the times and made sure the members were working on that you would like to see featured in Behind connected to get something new every day – was slightly younger than the average putting up their own personal messages The Campaign in a future edition of sandbox? If so, send such as Christmas covers or an official photo demographic there. Primary consumption and little clips of songs instead of just a brief synopsis of it to Eamonn Forde for consideration set; plus they could also put themselves into for The Vamps was on iTunes, YouTube and embedding YouTube videos. and your work (and your words) could appear here. a selfie with The Vamps by pulling in a photo physical in the UK. As Spotify has got bigger You have to move with the times in Email: [email protected] from Facebook. in the past nine months, their fanbase has terms of what is the most engaging content

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