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An Exploratory Study About Portuguese Music Festivals' Word-Of AN EXPLORATORY STUDY ABOUT PORTUGUESE MUSIC FESTIVALS’ WORD-OF-MOUTH (WOM) Dissertation submitted to Universidade Católica Portuguesa to obtain a Master’s Degree in Communication Sciences with specialization in Communication, Marketing and Advertising By Marta Sofia da Cruz Machado Faculdade de Ciências Humanas da Universidade Católica Portuguesa November 2020 AN EXPLORATORY STUDY ABOUT PORTUGUESE MUSIC FESTIVALS’ WORD-OF-MOUTH (WOM) Dissertation submitted to Universidade Católica Portuguesa to obtain a Master’s Degree in Communication Sciences with specialization in Communication, Marketing and Advertising By Marta Sofia da Cruz Machado Faculdade de Ciências Humanas da Universidade Católica Portuguesa Under the supervision of Dr Ana Jorge November 2020 ii Abstract Music festivals are crucial events in the Portuguese live show structure. There are hundreds per year, diverse in dimension, territory and musical genre, attracting millions of festivalgoers, who talk with their friends and family about it. Due to the social and experiential characteristics of music festivals, it is significantly important to find out how WOM is affecting their communication. There is a lack of research about which information and content constitutes Portuguese music festival’s WOM, through which channels it is spread, who is more susceptible of engaging in it, and how it can affect audiences. This dissertation aims to provide insights on this behalf. It is based on literature relating music festivals with marketing strategies, more specifically on word-of-mouth. It also analyzes the impact of content circulation on social media pages, affecting music festivals’ communication. A complementary purpose of this paper is to examine if the results vary according to type of festival and with audience demographic characteristics. Data were collected concerning six Portuguese music festivals – NOS Alive, Vodafone Paredes de Coura, NEOPOP, Festival Músicas do Mundo, EDPCOOLJAZZ and MUSA Cascais – through a web-based survey which gathered 288 respondents. The results show that information related with the lineup and useful details about the festival organization are the topics that festivalgoers search the most. What they prefer to share are visual memories from past editions, information about the lineup and content produced in real time during the event. Social media pages are their favorite channel to engage in both input and output WOM. By doing so, festivalgoers are also co-producers, acting as brand ambassadors of music festivals. The results also show that satisfied and recurrent festivalgoers are more propense of engaging in output WOM. Most of them were influenced by friends or relatives to attend the event. There were no big discrepancies between festivalgoers and non- festivalgoers’ perceptions towards the event. Other finding is that non-festivalgoers also engage in WOM. Even though advertising is the primary communication channel raising awareness about Portuguese music festivals, WOM also plays a significant role in regard to this matter. Keywords: word-of-mouth, music festivals, marketing strategies, audiences, social media, user- generated content. iii Resumo Os festivais de música desempenham um papel fundamental na estrutura dos espetáculos ao vivo em Portugal. Existem centenas destes eventos por ano, diversos em dimensão, território, e género musical, atraindo milhões de festivaleiros que partilham as experiências vividas com os seus amigos e familiares. Devido às suas características sociais e experienciais, é relevante analisar o papel do passa-a-palavra na comunicação dos festivais de música em Portugal. Pouco se sabe sobre este tema. Qual a informação e conteúdo que o constitui, através de que canais se espalha, quem é mais suscetível de se envolver nesse processo, e qual o impacto que tem nas audiências. A presente dissertação pretende fornecer conhecimentos nesse sentido. Foca também o impacto que a circulação de conteúdos tem nas redes sociais, afetando a comunicação dos festivais de música. Um propósito adicional é o de investigar se os resultados obtidos variam consoante o tipo de festival e as características demográficas dos participantes. Foram recolhidos dados relativos a seis festivais de música portugueses - NOS Alive, Vodafone Paredes de Coura, NEOPOP, Festival Músicas do Mundo, EDPCOOLJAZZ e MUSA Cascais – através de um formulário online que reuniu 288 respostas válidas. Os resultados demonstram que os festivaleiros procuram maioritariamente informação sobre o cartaz e detalhes úteis acerca da organização do festival. O que preferem partilhar são memórias visuais de edições anteriores, conteúdo produzido em tempo real e informação sobre o programa. As redes sociais são o seu meio favorito neste processo. Ao produzir e partilhar este tipo de conteúdo, os festivaleiros agem como embaixadores destes eventos. Os resultados demonstram ainda que os festivaleiros regulares e satisfeitos são os mais propensos a partilhar dados acerca do evento. A maioria foi influenciada por amigos ou familiares a frequentar o festival. Não houve grandes discrepâncias entre as perceções dos festivaleiros e dos restantes inquiridos. Os participantes que não foram aos eventos em análise, também se envolveram no passa-a-palavra. Apesar de a publicidade ter sido o principal meio de divulgação dos festivais de música em Portugal, o passa-a-palavra também se revelou importante nesse sentido. Palavras-chave: Passa-a-palavra, festivais de música, estratégias de marketing, audiências, redes sociais, conteúdo gerado pelo utilizador. iv Acknowledgements Firstly, I would like to thank my advisor, Ana Jorge, whose help and guidance were essential from the beginning until the completion date of this dissertation. Without her, I would have probably just delivered this dissertation by 2030. Secondly, I would like to show my gratitude to my parents. They are my biggest support in everything I do. Thank you for all the patience you had during this past year, putting up with my moody humors. Working and studying at the same time is challenging, but you made everything easier. Last but certainly not least, I would like to thank my friends for always listening to my constantly changing ideas about which path to follow when writing this dissertation. Thank you for motivating me to keep focused even during the challenging pandemic times faced. v Table of Contents Abstract ................................................................................................................................. iii Resumo ................................................................................................................................. iv Acknowledgements ............................................................................................................... v Table of Contents ................................................................................................................. vi Introduction ........................................................................................................................... 1 Part I - Theoretical framework .............................................................................................. 3 Chapter 1: Music Festivals in the Contemporary World ....................................................... 3 1.1. Festival industry .......................................................................................................... 3 1.1.1. Festivals as a type of events ................................................................................. 3 1.1.2. The Impact of festivals in tourism and economy ................................................. 3 1.2. Music Sphere .............................................................................................................. 4 1.2.1. Music Sphere Globally ......................................................................................... 4 1.2.2. Music Sphere in Portugal ..................................................................................... 5 1.3. Music Festivals Niche ................................................................................................. 7 1.3.1. Definitions and Characteristics of Music Festivals .............................................. 7 1.3.2. Music Festivals Globally ...................................................................................... 9 1.3.3. Music Festivals in Portugal ................................................................................ 10 1.3.4. Audiences ........................................................................................................... 12 1.3.5. Lineup................................................................................................................. 14 1.3.6. Season................................................................................................................. 15 1.3.7. Management of Music Festivals ........................................................................ 15 1.3.8. Marketing and Communication Strategies of Music Festivals .......................... 16 Chapter 2: The Importance of WOM for the success of Music Festivals ........................... 22 2.1. Defining WOM ......................................................................................................... 22 2.2. WOM process: who is involved, and which are the antecedents and consequences 23 2.3. WOM in the context of music festivals - the desire of sharing the experience ........ 28 2.4. Brand identity, brand
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