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Home , Jorja Smith, Revival Tour, Snapchat, Stories World Tour, White Denim

05-06 Tools 07–08 Campaigns & YouTube, Beauty & The Beast, , White Denim 09-12 Behind The Campaign Holy Holy

MARCH 15 2017 sandboxMUSIC FOR THE DIGITAL ERA ISSUE 175

MUSIC GOES ALL-IN ON SNAPCHAT But being used frequently doesn’t always equate with being used well. That is why music:)ally today presents its guide to Snapchat and music marketing, looking at how it can work in the marketing mix, what opportunities the platform offers and what kind of activity works on Snapchat.

The three key uses

Marketing on Snapchat essentially divides into three categories: what we might call “casual use” with artists using the app to document their life, while teasing and promoting their music; paid options, including geofilters, lenses and ads; and editorial opportunities with Snapchat itself (for example via Our ) and Discover partners, such as Vice and MTV. The first option is the most common – and understandably so, given that it is both free and relatively easy to set up. It can also MUSIC GOES ALL-IN ON SNAPCHAT work extremely well, according to Maddy Smith, senior digital marketing manager at Capitol Records UK. “Snapchat works Following its recent IPO (that gave it a jaw-dropping valuation of $28.3bn after its first day of trading), so well because it shows an often unseen aspect of an artist’s life and Snapchat is unquestionably the buzz platform of 2017. Music has been a key part of it for a while, but builds a level of intimacy that you this year will see musicians go all-in and hope to slipstream the Snapchat hype. We look at those acts wouldn’t get on many other social blazing a trail, how it can be used better, where (or if) the money can be made and what, exactly, it will platforms – like backstage at a show, on the tour bus and in the studio broadcast in cost you (in both time and money) to stand out from the crowd. real time,” she explains. But this doesn’t, of course, mean that t seems barely believable that just 20 artists can simply bombard their Snapchat months ago Snapchat CEO followers with crude promotional Ifelt obliged to explain to the world what, whenever they have a new exactly, Snapchat does. In March 2017, song out. Snapchat’s audience is famously Snapchat feels like it has been around young – millennials are said to account forever, a well-worn tool in the music for more than 70% of all Snapchat users marketing box used by everyone from – which is a positive for music industry and to Biffy Clyro. marketers, but also necessitates a

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tease new music; to show off his lighter side (lip-syncing to romantic songs on Valentine’s Day, for example); and recently used Snapchat to reveal news of a secret gig in his home town of Croydon. Then, in the lead up to the release of his duet album in February 2017, wove subtle promotional messages into his Snapchat use, uniting his fans around the release. “Stormzy has used Snapchat brilliantly in the past few weeks to promote his album release,” Smith explains. “He has shown his fans everything he’s done in his whirlwind promo tour but also rallied his fanbase with sales messages. He has brought fans along for the ride and instead particular caution around an sensation Stormzy is a of these sales drives sounding desperate audience that is wary of great example of this, or forced, it makes fans feel part of a traditional . using his Snapchat movement.” The key is for artists account to create to build up trust (and a loyalty among fans A two-way street following) on Snapchat before turning on the before they start with the promotional charm. He When using Snapchat for promotional promotional drive. has used Snapchat to purposes, it is also important to give your followers something in return for their loyalty, be it exclusive news (in 2015 channels – are frequently ripped and announced the tracklisting uploaded to YouTube – creating a genuine for Made In The AM on Snapchat, while fan-led buzz. earlier this year Bonobo allowed fans Snapchat’s paid promotional to unlock his new album title 24 hours opportunities can also be hugely potent and early by using the platform); “behind the – in the case of geofilters, at least – actually scenes”-type footage; a competition (as pretty affordable. We covered geofilters at with Bastille’s Snapchat tracklist reveal); length in sandbox 171, so suffice to say and even exclusive access to new music, that on-demand geofilters – overlays for as Calvin Harris did earlier this year, when the user’s Snaps that are specific to certain he teased his eagerly awaited collaboration geographic locations, to which businesses with Frank Ocean via Snapchat. Limiting can add logos and promotional messages news or content to one platform in this way – have become an important tool for may sounds slightly counterproductive, marketers around concerts and other live but, in most cases, the Snapchat content events, allowing them to reach fans in a very will quickly spread to other personal and unique way.

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Will Beardmore, digital lead, global are watching with the sound off, so an eye- . Meanwhile, US rapper rules this option out for the vast majority marketing, at WMG, says geofilters are “a catching creative is key,” she adds. Sage The Gemini benefitted from his song of music industry campaigns. really simple way to re-enforce the artist’s Sponsored lenses – branded lenses that ‘ & Later’ featuring on a Snapchat lens brand and campaign aesthetic within the appear in the app for Snapchatters to apply in 2016 as background to a pair of multi- Editorial as the apex live environment. Wherever it is available, it’s to their pics – are the next step up (at least coloured sunglasses. While the song proving to be an affordable way of giving the financially). Running a sponsored lens is wasn’t named in the lens, word Possibly the Holy Grail for marketers, fan another way to endorse the artist.” thought to cost anywhere between $250,000 soon got out, helping ‘Now & Later’ however, is securing editorial opportunities and $750,000, depending on the day of the to jump from 1.1m monthly listens within Snapchat itself. These are few and Ads and sponsorship: week, time of year and so on, which rules on Spotify in November 2016 to 5m far between, but can prove hugely effective making money and them out of most music industry budgets. the following month. In each case, if done right. Willing marketers have two getting cut through But they are said to be hugely effective, the financial details of the deals routes to secure editorial coverage: via Our / “driving 3x higher brand awareness than were not made public . Live Stories or Snapchat Discover partners. Snap Ads (full-screen vertical videos of 10 mobile norms” according to Snapchat, due to “This type of partnership had never The latter option relies on good, old- seconds or less, which play in-between the fact that they essentially encourage fans been done before with an emerging artist,” fashioned plugging: convincing some of the stories, with the option to add an interactive to play around with an advert. Chelsea Gavin, director of marketing at 30+ Discover partners around the world to ) are also relatively affordable There have been a few instances of Artist Partners (who works with Sage The cover your music on their Snapchat channel. and Snapchat claims they command “two crossover between musicians and branded Gemini ), told . “Together we were This may sound straightforward, but times more attention than ads on lenses, including an Ed Sheeran lens able to enhance a lens sonically, maximising opportunities are extremely limited, given comparable platforms”. Smith says that she released in January, which featured a pair of user experience, which translated into a lot of that only a handful of these partners – MTV, has run a few Snap Ad campaigns “and they virtual turquoise glasses with a 30-second curiosity around the artist.” iHeartRadio, Vice, , have worked well”. “It’s a short ad format, clip of his ‘’ playing in the Snapchat also offers ads via its – cover music in any substantial just five-to-seven seconds and you also background; and an Ariana Grande lens Discover channels, although a daily rate way. But it does happen: MTV’s Discover have to factor in the fact that a lot of people in May 2016 to promote her new album, said to start somewhere around $50,000 channel, for example, has debuted videos

3 | sandbox | ISSUE 175 | 15.03.17 COVERFEATURE from the likes of Bebe Rexha and Axwell /\ attracted more than 40m viewers – but inevitable that Snapchat will continue to Ingrosso, while in February 2015 Madonna Stories are entirely under the control of be an essential music industry marketing premiered the video for ‘’ Snapchat, with no way for marketers, artists tool for years to come. That’s good news for on Snapchat. or management to create their own Stories marketers trying to reach a younger audience. Getting editorial coverage on Our / Live (although the judicious use of geofilters But a note of caution is advised: for all its Stories is equally tricky. The vast majority might be enough to create the idea of an success, Snapchat may remain something of these stories (first called Our Stories, informal Snapchat “event”). of a mystery for older artists, meaning then Live Stories, then back to Our) focus That may sound dispiriting. But marketers may find resistance to its use. on live events, including festivals and Snapchat is certainly interested in This can be overcome – Jennifer Ivory, concerts, via partnerships with the likes of working with musicians and labels and VP of marketing for Warner Bros UK, and Live Nation and AEG. These have included has its own music partnerships team, Sebastian Simone, marketing manager at EDC in , Coachella, the VMAs, the headed by VP of Partnerships Ben Warner Bros UK, recently told Music Ally Grammy Awards, and Schwerin and head of music partnerships of their success in bringing Biffy Clyro to Lollapalooza and the focus is typically on (and former Creative Artists Agency the platform – but pushing too hard will behind-the-scenes and “in-the-crowd” executive) Glenne Christiaansen. almost certainly prove counterproductive. experiences. “Sometimes there can be challenges “Everything ultimately had to come from the There have, however, been a very small as a platform grows, but [at Snapchat], and it has to be authentic,” Ivory said of number of artist-specific Our Stories, they’re all passionate music fans and her experience with Biffy Clyro. “We wouldn’t including a Q&A in July 2016, have the interest of advancing the artist,” push them to do something they weren’t into backstage on her Revival Tour, and a Story Chris Mortimer, head of digital marketing doing. There is no point.” on The Weeknd in the lead up to the release at Interscope Records, recently told Smith says you should never force an of his second studio album, Beauty Behind Mashable. Snapchat is believed to be keen artist to adopt a behaviour that doesn’t The Madness. The potential for these is clear to work with musicians – like The Weeknd suit them, although Snapchat can offer – the Coachella Story in 2015 apparently – who have already made their mark on “the opportunity to show a new side to artists that might not necessarily be portrayed through traditional promotions and media opportunities”. “I’ve had instances with artists HAND IN HAND WITH SNAPCHAT AND before where they don’t get it Wesley A’Harrah, Music Ally’s head of downloads from iTunes and other stores. [Snapchat] and feel uncomfortable training and development, explained It remains unclear how many in-Snapchat talking to camera in such a direct the link between Snapchat and Shazam Shazams have been occurring, although way. Usually it just takes time for in a White Paper for Midem. Music Ally understands the partnership them to acclimatise to this, then it to be generating substantial new traffic becomes second nature. Often if you In late 2016, Snapchat added a feature for Shazam. demo the app to them and show them the that allows fans to Shazam music directly Shazam has been taking advantage Snapchat, rather than newcomers to lenses especially this brings them on board,” from the Snapchat Camera screen. of this new presence to drive its in- the platform. she concludes. Shazam generates some 30m clicks a Snapchat following, and has been “It isn’t for every artist, though. The worst month through to music streaming services experimenting with various types of Getting acts on board thing you could do is force someone to use such as Spotify and Apple Music, while also takeovers and interactive content within is not always easy the app when they don’t feel comfortable. bringing in upwards of 400,000 daily song its Snapchat channel. The artist producing no content is better than With Snapchat now boasting of 150m daily forced and unnatural content that doesn’t users and an IPO under its belt, it seems show the artist in the best light.”” :) 4 | sandbox | ISSUE 175 | 15.03.17 TOOLS WHY YOU SHOULD BE USING INSTAGRAM

This piece comes as a follow-on from cate in an all-encompassing visual style, photograph, to a page of text, to a digital music:)ally’s workshop on Instagram for with the elimination of Instagram’s (by illustration, to a conclusion and a final Live Music at the International Live Music then quite archaic) chronological posting page including sharing links and the ability Conference last week, where we delved dynamic and a pressure to consume more to ‘applaud’ the piece (in other words, add into the quickly expanding platform prior to keep up with the rate at which content to the number of clap emojis.) to its festival season debut (which is disappeared. Much as Instagram is a point bound to be pretty huge). True to its slow-rolling style, Instagram of social discovery, Medium exists eventually followed suit, releasing the as a central hub for people with It’s almost impossible to write about originally named Instagram Stories in Q2 something to say and readers Instagram these days without comparing 2016, just after the bulk of the festival who want to explore different it to Snapchat. (See our cover feature this season – a clever way to ensure that the topics. issue for more on Snapchat.) In 2014, initiative would gain enough awareness, Instagram and Medium have conversa- Snapchat Stories arrived and in the years reputation and users before #Festival- tional tools: tagging and . In fact, since we’ve seen the big social media Season2k17 kicked off. More features one of the viral trends of 2016 was the players trying to catch up with trends like have emerged to keep users interested: #MannequinChallenge, which saw groups disappearing content, photo doodling and live stories, disappearing direct and group of people filming rooms standing still mobile-first updates. messages, themed stickers and more and pretending to be mannequins. This While the yellow ghost ruled a new effective ways to discover ‘Stories’, videos had 4m mentions at the end of wave of social media for a good couple of and live-broadcasts. 2016 on and a whopping 16.2m on years, it’s now up against the “old” guard At the end of last year, Instagram Instagram, proving the platform’s value as who are catching up with some of their had 600m monthly active users (MAUs), a conversational tool. innovative features while retaining the 66% of which were checking in every day. Inevitably jumping into the pool was original feel that attracted users in the Advertising accounts doubled over a six- just a few days after Medium’s first place. month period to 500m, with an estimated announcement, announcing Messenger This piece is particularly timely due to a $1.86bn in ad revenue generated in 2016, Day (one of the less-well-named initia- few updates last week. We’ve making Instagram a much more interest- tives) which allows users to produce video mentioned the art of “story ing space commercially. and photo content with stickers, doodles, telling” within digital marketing February 2017 has seen the storytelling text and animations, which only exist on before, but the word has now trend compounded, initially by Medium, a ‘your day’ for 24 hours. expanded as a mobile-first digital mobile-friendly blogging platform for pub- Facebook’s VP of messaging David medium in itself (much like swip- lishing and discovering stories, conversa- Marcus told TechCrunch that this update ing-culture when arrived in 2012). tions and topics, which announced Series, was to allow people to be involved in other After launching as the first successful a mobile-designed format for blogging people’s days. “Having context before you photo-based mobile platform in 2010, which made it more digestible and visual. have a conversation is important,” he said. Instagram’s userbase was threatened by Tapping through (similarly to Snapchat/ Last month, WhatsApp also launched the arrival of Snapchat. It started letting Instagram), readers are taken from an in- WhatsApp status, so between that, Insta- children and teens express and communi- troductory quote, to a 360-degree mobile gram and Messenger, the storytelling aspect

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to grab attention and encourage engage- ment. Social media is no longer a one-size- fits-all job. One feature which has caught a lot of attention so far is outlinking in Insta- gram Stories, which is unfortunately only available to verified users. Essentially this allows users to enhance their sto- ries, with a ‘See More’ button at the bottom linking to a page of their choice. We’ve seen festivals linking to ticket pages and new lineup articles, and labels (nota- bly Ninja Tune and Young Turks) linking out to playlists and is well catered for and essentially more The beauty of Instagram live is its as a customisable tool for users putting merchandise stores. This is a real first for discoverable and user-friendly (in a broad discoverability (due to the home page fea- on events, gigs and festivals. the storytelling medium and it looks like demographic context) than Snapchat. tures and algorithmic suggestions), not to The commercial potential of people could really make good - Instagram has taken Stories one step mention the exclusivity. Arguably 24 hours Instagram is on the rise, with al use of Instagram Stories. further, adding in the ability to go “live”, a seems like too long a period these days, more than 50% of users following Will we eventually be able to broadcast brilliant contender versus Facebook Live with many artists taking to Instagram Live at least one business page on the live on Facebook and Instagram simultane- for a number of reasons. Facebook Live is to update fans in real-time, no record left platform and essential analytics ously? Will Instagram ensure the ability to the ideal place to go live and notify your for catching up. available to all users who choose customise stickers like Snapchat geofil- fanbase about it, while broadcasting Live Another recent feature is Instagram to enable a business setting. Un- ters? Will Instagram make its verification on Instagram quietly sits at the top of geo-stickers, catching up with Snapchat’s fortunately, one of the main trip-ups in this process more accessible? It’s going to be your feed for you to tap into should you be geofilters, one of our most-mentioned area is marketers and artists cutting corners fascinating watching the music industry interested. We’ve already seen the likes of digital marketing tools back at the end of and posting adverts or boosted posts from (particularly live) making use of Instagram’s Martin Garrix, Kid Ink and Selena Gomez 2016. So far they’re testing out the feature Facebook itself, and merely promoting new features over the coming year. It’s share teasers on Instagram live broad- in and , with stickers them out to both platforms. The nature of not just the “old square photos” platform casts (pictured above), with some artists popping up if you’re in the area, but there’s Instagram is more fast-paced than Face- anymore; it’s a platform with the potential even debuting tracks there. no knowing if this will later be rolled out book; it therefore deserves unique content to draw in a whole new community. :)

6 | sandbox | ISSUE 175 | 15.03.17 CAMPAIGNS The latest projects from the digital marketing arena VEVO AND YOUTUBE DOUBLE DOWN ON FUNDING VIDEOS

Both Vevo and YouTube are moving deeper into “It’s a great way to culminate everything we’ve against the heaviest hitters on the video bankrolling original content for artists in order achieved to date, including Dscvr Ones To Watch platform; but, for a new artist appearing to forge a much tighter relationship with them and Dscvr live in New York by supporting her in an eight-minute documentary on a – a marketing dynamic that is not new but is not only with production, but also on a creative platform that is generally about instant certainly starting to reach a crescendo. level to shoot the ‘Beautiful Little Fools’ video,” gratification and snacking, this is already James Moodie, senior impressive. The fact that she is also manager, music and signed to an independent (albeit one of talent at Vevo, told the biggest independent) also plays to Music Week. YouTube’s favour as it is backing an artist YouTube, sitting outside of the top 40 steeplechase. meanwhile, has been The trend for digital music and video the focus of label- and platforms is increasingly about getting publisher-led attacks a closer relationship with the creator on the value gap and rather than just the content. Last year is keen to show that was about Apple and Tidal nailing down it can and will support exclusives (while everyone else wailed emerging talent about how bad exclusives were for the beyond pushing them consumer). At the same time, however, up the algorithms. To Apple was forging a very different this end, it has created relationship with and Taylor Swift First Vevo. It has already backed as an eight-minute documentary on Låpsley (who is that is providing a template for others to aspire world to emerging YouTubers, including music one of its breakthrough acts for 2016 on Dscvr signed to XL Recordings) which follows the singer towards – that of creating high-production ones. Partnering with already huge acts like but has just paid for the video for her ‘Beautiful around Iceland as she makes new music. original content and building partnerships Drake and Taylor Swift is a costly business and Little Fools’ single. “Late last year, Låpsley travelled to Iceland around that. As part of a rumoured $19m deal, part of a financial arms race – meaning only a This is, according to the company, the first of with YouTube to gather inspiration for her it bankrolled Drake’s ‘Hotline Bling’ video and handful of the biggest digital companies in the a number of videos for emerging and unsigned next album and explore her love of nature got the early exclusive on his Views album in world have the budget to do so. The moves here acts that it will be funding. While some platforms a bit deeper,” says the video description. exchange for that. It had also paid for the concert by YouTube and Vevo are not going to threaten want to cosy up to the biggest acts in the world, “She travelled around the country, visiting film of Swift’s 1989 world tour. the huge spending of an Apple, but they are Vevo’s move is about positioning itself both as a such landmarks as Langjökull Glacier, Seltún Vevo has, of course, already been doing this not intended to. Rather they should be seen spotter and a commercial backer of new talent. Geothermal Area and Reykjanes Lighthouse to on a much smaller scale with acts featured on as both a proof of concept and a spread While it is easy to pay lip service to how much sample organic sounds of the earth and record its Lift and Dscvr promotions (although that has on the future – showing they can support new a platform “supports” an act, Vevo is hoping to a new track.” In its first six days, the video has primarily been around live performances and talent and then benefitting from that early close be seen as a video channel that puts its money racked up over 60,000 views. These are not the interviews). Meanwhile YouTube likes to flag up relationship when these acts break through into where its mouth it. sort of numbers to spook the horses when set how it is opening its creator around the the mainstream.

7 | sandbox | ISSUE 175 | 15.03.17 CAMPAIGNS The latest projects from the digital marketing arena SPOTIFY’S BEAST 1 A SPOT(IFY) OF RAIN

Another Spotify-centric campaign, but one driven in conjunction with a band and a brand rather than just a brand on its own. Plus, it’s wonderfully ridiculous – and there aren’t enough ridiculous campaigns out there.

In brief – and no doubt to Spotify recently announced that it has passed Luckily we were not banished to The Rose piggyback on the general media 50m paying subscribers globally, but it’s the Room and could also go to The Ballroom, and tech hysteria around SXSW other (possibly 75m+) users on the free tier Belle’s Bedroom (careful!), The Beast’s – Austin band White Denim are that it is targeting with its latest promotional Bedroom (careful!!), the Dining Room, the releasing a single, ‘No Nee Ta granular stats and instead something that partnership with Disney. Library and the Dungeon (oh-oh!). Each Slode Ahn’, with the twist being that it you can have a bit of fun with. had their own bespoke playlists and you will only play in parts of the US where it is It comes just after Spotify partnered Ahead of its cinema opening this Friday could scroll down to see stills from the film raining. So lots of plays in , fewer in with US meteorological company (17th March), Spotify is heavily pushing the set in each room, watch the trailer and see Las Vegas. AccuWeather on the unfortunately Beauty & The Beast film with a dedicated (and interviews with the cast, the director and some The brand in question is North Face named Climatune to figure out how the interactive, of course) website built around of the singers on the soundtrack – notably which is hawking a new rain jacket, hence weather affects users’ song choices. Beast’s “enchanted castle” (naturally). John Legend and Ariana Grande. There is also the precipitation link. The whole thing (Unsurprisingly, sunny weather triggers Users on the free tier of Spotify are being an unobtrusive link to buy tickets for the film. is running on a chassis of big data in a happy music choices and wet weather pointed towards the site via video ads. Once It’s not presented as a hard sell as there’s way designed to prove it’s not all boring veers users towards gloomier music. Who on the site, they are asked to connect to no real need. If you’re interested enough in knew?) Climatune identifies the weather in Spotify so that their music listening habits exploring a virtual castle based around the film your area and serves up a themed playlist can be quickly read and used to point them to it is highly likely you’ll want to go to see the (but you can also change the weather the most suitable “room” in the castle. When film anyway. choices to get different playlists). Sandbox did this, we were sent to The Rose It’s clearly a statement brand partnership Gone are the days of Vulfpeck trying to Room (“the epicenter of enchantment” in the for Spotify as it looks to boost revenues “game” Spotify by getting fans to stream castle, apparently). “The Beast must learn to from the free tier (which has always been their tracks as many times as possible while love another and be worthy of their love before the toughest to flip into the black) and also fans were sleeping to help bankroll their the last petal of the enchanted rose falls… prove that it has both a large and an engaged tours. In this case – unless they are gluttons otherwise, he will remain a beast and his audience where these kinds of campaigns can for punishment and/or farmers – few people staff their inanimate forms for all eternity.” work. Obviously only a handful of mega-brands will be willing it to rain and, therefore, will not We’re not really sure what any of that means, will have the budget to pull off something like be so keen to hear the song. but there was a lovely little 23-song playlist this, so it will be intriguing to watch who Spotify The Weather Girls were unavailable waiting for us, so that’s OK. lines up for similar pushes through the year. for comment.

8 | sandbox | ISSUE 175 | 15.03.17 Photo: Ben Knight BEHIND THE CAMPAIGN HOLY HOLY BEHIND THE CAMPAIGNHOLY HOLY Artist photos: Ben Knight Leading into the new album They have previously released an EP [The Pacific] and their debut album, When The Storms Would Come, came out in mid-2015. Their releases are a joint effort between Wonderlick Recording Company and Sony. They had strong physical sales and, in the indie world, they did quite well – selling around 10,000 units. In the lead into their second album [Paint], they released two singles in advance and both of them have had great support from JJJ [the main alternative radio station in ]. For the next single, ‘That Message’ , came out just before the album release on 24th February.

In November, they did a tour of 14 different cities in Australia – playing in band Holy Holy formed in Australia in 2013, with their 2015 debut venues with capacities of between 300 and album going to #1 on the ARIA album chart in their home country. The title of 800. They can sell out an 800-capacity venue their second album – Paint – defined the aesthetic of the campaign throughout. in cities like and . JENS BENGTSSON, marketing manager at Sony Music Entertainment Australia, explains how four artists were filmed creating paintings inspired by tracks on Focusing the creative around the album title the album that then worked as non-single videos (which were then exhibited in The idea for the campaign came out of one a Sydney gallery) and how the campaign had to simultaneously push physical of our regular marketing meetings. Someone sales and streams in a market slowly transitioning from ownership to access. on the team had the idea that, because the album was called Paint, we could do something where we let artists interpret

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different songs via paintings. We liked the to him. We thought about reaching out to There was an idea for the whole process the process from start to finish rather than essence of the idea and we worked on the different art schools, but the project could to be recorded as a time-lapse, but the one long time-lapse video. idea and boiled it down to where we decided have grown out of proportion when we director thought that was going to be a It was a prerequisite to be part of the to get four artists who would interpret a looked at that. So we approached James, boring video. project [that we would film them as they song each. We would document and film presented the idea to him and asked Instead we had two cameras created their art]. They were all comfortable it and they become like miniature music him if he would like to recruit three other documenting everything so you could see doing that. videos that we could work with for both the up-and-coming artists who would be part single and also for preview videos leading of the project. He came back with a few into the album during release week. suggestions which we liked. We also knew that appealing to that [art] James has his studio up in Newcastle [in audience would work as it marries well with New South Wales], so we got a production Holy Holy’s audience. This is not something company and went up there. Over three we do that often in music marketing – to tap days, we filmed them doing these paintings. into this whole other creative world where Each painting took anywhere between three people have huge followings and creative to six hours to complete. It was quite a big credibility. We think it goes hand-in-hand video project. with this band. For us to work together on We gave the artists the album – minus that, it struck us as strange that we don’t the singles that had already been released do it more often. The art is inspired by the – and we told them to listen to the music different songs and then that art inspires and see if there were any songs that they people who do different things. connected with or were inspired by. They came back with a few suggestions and The pragmatics of creating the videos, luckily they all picked different ones. recruiting and briefing the artists We had some guidelines where The album artwork is a painting by the we didn’t want to use any of the Newcastle-based artist, James Drinkwater. singles that were already out [or It was only natural that we would reach out were planned for release].

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They had freedom in picking what medium they wanted to create in. They could have, for example, made a sculpture. But because the album was called Paint, all the artists went in that direction. It was still contemporary, modern or abstract art. They could add things or drill things to the canvas so they were not limiting themselves to just painting [if they wanted].

Releasing the videos online and tapping into the artists’ communities The videos were put on the artists’ YouTube channels but the premieres were given to different outlets – not just music outlets, but also different art outlets to reach fresh audiences. Having artists like James Drinkwater involved, his name are so many other factors that you have to carries weight [in the art world] and weigh in. his name can open up an audience You can’t do a really intricate who have previously not heard of campaign with just Spotify as that Holy Holy. will not go down well with your physical We have people on the team deeply retailers. You will make [a large interested in the art world and they have Navigating a dual strategy around digital on Spotify . Indie rock isn’t your typical part] of your money from physical been really helpful in pointing us in the and physical in a transitioning market streaming genre so in planning the release retail but you don’t want to shoot right direction when it comes to online art We are focusing a lot on online marketing, of an indie rock album in Australia you yourself in the foot and only communities and other outlets. We also but because we are still very much a physical have the challenge of it being somewhat focus on physical if you want to leaned on the artists themselves in terms of market in Australia, partnering with retailers of a physical market. There is also then the have any kind of relevance among what they recommended. and pre-order incentives are important. challenge of indie rock within streaming. So the streaming audience and The album came out on the Friday [24th We have pretty aggressive streaming if we are going to have a good bottom on any kind of longevity in the February] and on the Tuesday, Wednesday targets for the album. There are other this project, we will have to sell a lot of units campaign. :) and Thursday before, we released one track singles to come out and we are talking more and downloads. and one video per day. about this idea of making a The thing I find is that it’s not one or the On Spotify, we created a playlist on the where we can combine elements of this other. In [where I am from, having WANT TO FEATURE IN artists’ profiles where the name of the campaign with footage from an actual music previously worked at Sony Music Sweden], BEHIND THE CAMPAIGN? playlist was ‘PAINT – NEW ALBUM’ [with video. it’s almost all about streaming; but you have Marketing people: do you have a campaign you are working details of the release date and link to order In terms of streaming, the playlists on to figure out ways to get people streaming on that you would like to see featured in Behind The Campaign the vinyl edition] to create a buzz before the Spotify [will be key]. a product a number of times to extend the in a future edition of sandbox? If so, send a brief synopsis of album came out. In the description of the [Australia might be a strong physical lifecycle of it. In the old days [of physical], it to Eamonn Forde for consideration and your work (and your playlists, we told users they could go to Holy market] but it is changing very quickly and all you had to do was concentrate on sales words) could appear here. Holy’s YouTube channel to watch the videos streaming is growing fast here. There are in week one as that was where you made Email: [email protected] of the paintings. something like 3m subscribers here just your money. In Australia, it is both and there

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Clients include: Digital marketing services

Universal Music, Warner Music, Campaign support services: CONTACT Sony Music, Spotify, Deezer, • Strategy Ignition, Beggars, Modest, Red Bull, • CRM and Email tools Studio 11, Holborn Studios 49-50 Eagle Wharf Rd Shazam, Domino and more • Digital housekeeping • Social networking updates N1 7ED • Search and online advertising If you have a digital campaign +44 (0)20 7250 3637 • Mobile applications ☎ related story for sandbox, • and online PR outreach www.MusicAlly.com please contact Lil Patuck on Published by music:)ally. • Measuring campaign [email protected] [email protected] effectiveness music:)ally is a music business If you’d like to talk to us about our Registered company number: information and strategy company. Contact Karim Fanous on 04525243 digital marketing/mentoring [email protected] or We focus on the change taking training services, consultancy or +44 (0)20 7250 3637 to discuss VAT number: 858212321 place in the industry and provide specific research services, please your digital marketing needs. © Music Ally Ltd. For the purposes of information and insight into every contact Karim Fanous on [email protected] personal, private use the subscriber may aspect of the business: consumer Training services: print this publication or move it to a research analysing the changing • In house company mentoring storage medium; however, this publication behaviour and trends in the If you’d like to subscribe, add • Workshops is intended for subscribers only and as new subscribers, or talk about • Digital briefings such may not be redistributed without industry, consultancy services to permission. companies ranging from blue chip a corporate deal please contact • Digital MOT sessions retailers and telecoms companies Anthony Churchman on Subscribers agree to terms and conditions music ally to start-ups; and training around [email protected] music:)ally has delivered digital set up on the :) website, marketing training sessions for except where a separate contract takes methods to digitally market precedence. music:)ally has taken all your artists and maximise the a wide range of clients including reasonable endeavours to ensure the effectiveness of digital campaigns Universal Music, EMI, AIM/London validity of all items reported within this document. as well as events. Connected and many individuals We do not assume, and hereby disclaim, We are now also offering digital Check out music:)ally’s training any liability for loss or damage caused marketing services to labels, artist opportunities here by errors or omissions. In particular the content is not intended to be relied upon managers, artists and other music in making (or refraining from making) related companies from campaign Contact Anthony Churchman on investments or other decisions. We cannot advice and strategy through to [email protected] or be held responsible for the contents of any implementation and execution. +44 (0)20 7250 3637 to discuss linked sites. your training needs

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