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Sandbox CAMPAIGNS OF THE YEAR 2013 Issue 99 | 18th December 2013

Here are 25 of the best and most interesting digital campaigns of the year, presented in alphabetial order by artist / event name. They cover the bells-and-whistles big-budget productions as well as those run on a shoestring. They also range from cutting-edge new artists to the of the catalogue business, taking in a variety of genres and niches along the way. Here we get the people behind them to explain how they did things, why they did things and what the results were. Issue 99 | 18th December 2013 | Page 2 : Above & Beyond

Overview: Pre-event activity • Fans entered by creating ABGT050 photo and video content on and Campaign budget: 1) Countdown Concept & context tagging their entries with the £2,001 - £5,000 • ABGT050 was the landmark 50th episode • Countdown via www.aboveandbeyond.nu #MYABGT050 of Above & Beyond’s weekly radio show, and social networks from 50 days to go – Audience demographics: Group Therapy (otherwise known as in the form of countdown banners and key In-event activity Gender: 70% male / 30% female ABGT), which has 30m listeners worldwide ABGT milestones which were posted on 1) Online hub Age: 54% 18-24, 28% 25-34, 10% 13-17, 8% 35 social networks every five days • The event was a live radio show and & older • Designed and developed in partnership headline event, Above & Beyond’s biggest 2) Interactive initiative – #MYABGT050 with LessThan3 and hosted at http://www. Location: Worldwide show of 2013 and the biggest Group competition & + Hangout aboveandbeyond.nu/abgt050. The hub Therapy show to date Team members involved: • We ran a #MYABGT050 competition to win broadcast the live radio show, and also • It was a sold-out 10,000 capacity event at displayed pages containing the following Lucy Blair – digital marketing manager a Google+ Hangout with Above & Beyond Gareth Jones – radio & promotions manager Alexandra Palace content: (their first ever Google+ Hangout) Corentin Kerisit – head of digital »» Instagram photos with Leena Lewis – Involved Management #ABGT050 Giuliana Hilton – Involved Management Laura Bruneau – label executive »» Tweets tagged with #ABGT050 Dom Donnelly – digital marketing executive Ari Evans & Bryant Williams from LessThan3 »» Live chat functionality (designed and developed the online hub) »» Exclusive from Above & Beyond to fans Links: http://www.aboveandbeyond.nu/abgt050/ »» Live photos from Alexandra Palace http://www.aboveandbeyond.nu/myabgt050/ »» Artist pages http://www.youtube.com/watch?v=4ERYMSP7 »» Anjunastore page Wxc&feature=share https://soundcloud.com/aboveandbeyond »» Skype message page

Post-event activity 1) Content • iTunes of each artist’s set went live the day after the show Issue 99 | 18th December 2013 | Page 3 continued…

• Two days after the show we launched an Results: Above & Beyond SoundCloud partner profile at the same time as uploading the Pre-event results A&B ABGT050 set, containing 16 brand #MYABGT050 competition new and exclusive tracks • Over 800 #MYABGT050 competition • Official photo uploaded to entries Google+ Hangout • Fan photo booth album uploaded to Facebook, where fans were encouraged to • Over 500 concurrent viewers tuned in live themselves to the Google+ Hangout • New Above & Beyond track, ‘Mariana • Hangout has had 15k views on Above & Trench’, which had its first play at Beyond’s YouTube since transmission ABGT050, was uploaded to YouTube on 1st • Above & Beyond’s Google+ following grew November after premiering on ABGT by 3k

• ABGT050 artist interviews (there were YouTube five supporting artists who DJed on the night as well as Above & Beyond) were put • Hangout drove a spike in YouTube subscribers of 190%, and a spike of 160% live on YouTube straight after the show • Above & Beyond’s in minutes watched (vs. 2013 average) ended and promoted on social networks ABGT050 set has had throughout the following two weeks Instagram over 110k plays since • Still to come: official aftermovie 28th October and drove a • Above & Beyond’s Instagram growth MOM huge spike in SoundCloud October 201 vs September 2013: followers 2) Promotion of upcoming album listens, with over 15k plays +657%, likes +45%, comments +53% in the first 24 hours alone • Video of Above & Beyond’s acoustic • The ABGT050 set also version of ‘Sun & Moon’ being played In-event results drove huge listening at ABGT050 – a track taken from their Online hub spikes on other Above forthcoming Acoustic album – was & Beyond SoundCloud uploaded to Facebook at the end of the • Generated over 30k visits from over 130 content on the same day show, then YouTube two days after the countries, over 20k chat messages, 3.5k show tweets, 2.5k FB shares, 150k image / photo impressions Issue 99 | 18th December 2013 | Page 4 :

Overview: Campaign budget: Gabrielle Aplin secured the coveted John [£5,001 – £10,000] Lewis Christmas ad soundtrack (2012) with her cover of ‘The Power Of Love’. As a result Audience demographics: of its success, we pushed the release plans of her own material back by a few months. Gender: Female skewed Working towards the album in Age: 79% 13-24 May, we needed to find a way to reignite that Location: Bath/ initial interest and get people to fall in love with her in her own right. Team members involved: Gabrielle already had a sizeable YouTube Jude Stone – digital marketing following – she had 8m official content plays Alex Eden-Smith – marketing on YouTube and 44,000 subscribers with Will Nichols – digital creative 10,000+ daily plays. We chose YouTube as Will Beardmore – digital creative production the key platform digitally to push the English James Barnes – management Rain release and looked at a creative way for SMV Group – digital advertising her to engage with her fanbase and connect To ‘Hot Leads’, we supplied an 18-minute • Socials were actively maintained daily with a wider prospective audience. sampler of the album, an unreleased album by Gabrielle herself, interacting with fans Links: We were the first advertiser on YouTube track and an exclusive acoustic version of her across each network. http://gabrielleaplin.co.uk to make use of the ability to segment the biggest single, followed by a personalised http://youtube.com/gabrielleaplin • The campaign included a promotion audience by their relationship with the film message from Gabrielle. ‘Warm Leads’ http://twitter.com/gabrielleaplin around Gabrielle’s headline tour. We content, rather than by demographics or received the entry-level content of official launched an optimised platform that http://facebook.com/gabrielleaplin keyword targeting. We separated ‘Hot Leads’ videos and a cover version of the encouraged fans to upload and (fans who had liked or shared Gabrielle’s ‘Dreams’ with Bastille. pick a tour date that they would like to videos or who had watched less-viewed Alongside the YouTube campaign we support on Gabrielle’s tour. Fans and content) from ‘Warm Leads’ (people who engaged and explored all other platforms. friends were able to use Facebook and had only watched one video or entry level to promote the competition and material like covers of other artists). We then • Dedicated tools were built for various performances. Gabrielle picked retargeted them with a sequence of specially http://www.gabrielleaplin.co.uk/paniccord/ the winners herself and these winning developed video content in YouTube in- & : http://www.gabrielleaplin. fans won the opportunity to perform stream. co.uk/englishrain/. on her tour at each respective live date. Issue 99 | 18th December 2013 | Page 5 continued…

Sessions were performed for the iTunes In just one month on the tour support • The people who were exposed to our single/album/tour/international and is still Festival, , Shazam and others and mechanic, we received over 2k video entries advertising went on to explore her in place and ongoing. was supported across all of her channels. and over 250k votes. channel – deepening their interest with • A cohesive campaign that was informed 275k incremental views. For the YouTube campaign, we were by all areas of our marketing team,

Results: rewarded with engagement rates, which artist/manager, A&R, digital, marketing, Key learnings: The album entered the chart at #2 with sales surpassed anything we had ever seen. creative, A/V, radio, online, print, live, TV, to date topping 120k with a healthy digital • Confirmed the importance of a hyper- advertising, brands, sync and, of course, • We drove 595k interactions with 15% of share of over 50%. targeted remarketing strategy across the the fans. our audience watching the 18-minute label. YouTube plays jumped from 8m to over 40m album sampler in its entirety. official content plays and saw subscribers • YouTube as a platform proves that a long- • Our audience took to Twitter in droves increase from just 44k to an impressive 267k. term plan is as valuable as short bursts to tell their friends about how much they around releases. Gabrielle signed with 29k Facebook fans and loved our advertising, taking photos of 11k Twitter fans. Facebook climbed 635% to the pre-rolls and creating the hashtag • A long-term campaign is not just about 213k and Twitter from 1.2k% to 137k. #notskipping. singles; ours was a continual strategy of Issue 99 | 18th December 2013 | Page 6 XL Recordings: Atoms For Peace

Overview: and tech-savvy fanbase. Using Thom and the We then set about bringing the aesthetic to band’s social networks to hint what we had life in the real world in a way that fans could Campaign budget: Christopher Leckie, our digital creative done helped people get excited about Atoms directly engage with. To celebrate the band’s [£25,000 +] director, worked closely with Stanley For Peace as a new band.” three-night residency at the Roundhouse in Donwood to bring his artwork to life. “The London, we created The Atoms For Peace Audience demographics: campaign started with the ‘Default’ video We used social clues and subtle new pieces of Drawing Room. XL’s creative director, Phil 65/35 male/female animation within the site to reveal exclusive Gender: which slowly revealed the artwork,” he said. Lee and events manager, Emily Kendrick unseen content, including the online launch Age: 25-34 “Stanley and Thom [Yorke] were specific worked with Stanley and the band to create of the band’s ‘Before Your Very Eyes’ video Location: US / Europe / South America about how they wanted to reveal elements of a working art space opposite the venue, following its premiere on the big screens at the art and everything grew organically from transforming the upstairs of The Enterprise Hollywood Bowl. Team members involved: there. Dan’s incredible and expansive artwork in Camden into a space designed by Stanley Ben Beardsworth – A&R, MD was the perfect base for the website. Dan was The theme of collaboration continued when for what he referred to as a ‘warm action’ Phil Lee – creative director keen to focus on animating specific elements Donwood worked with INSA on a piece called – a haven of wall-to-wall monochrome. Christopher Leckie – digital creative director from the art rather than the whole thing. It Hollywood Dooom GIF. INSA took Donwood’s Welcoming over 4,000 fans in its run of four Emily Kendrick – events manager added to the feeling of the site and doing the work and used it to turn XL’s LA office into days, the Drawing Room featured unique Matthew Marcus – developer animation in a deliberately kitsch format a piece of a gif-itti, a new artwork that only merchandise much of which was created on David Emery – head of marketing was fun and seemed to capture the spirit of exists online (and fleetingly in the real world), site. Over 6,000 vinyl were screen printed Scott Wright – head of online the moment online.” and that involved INSA painting and reprinting by hand, along with bespoke T-shirts and new frames of animation across the building. He added, “Once we had the look and feel of posters created at the on-stage pop-up Links: the site together, we knew we could hide and We also worked with the digital artist Glitchr print shop. Inside fans could take a seat http://atomsforpeace.info tease content around the site over a period who created bespoke social message art for on the one-off pieces of Amok furniture, http://xlrecordings.com/news/ of time because they have such an inquisitive the campaign. view and order from the latest collection of hollywooddooomgifbystanleydonwoodxinsa We wanted to build an album Donwood’s works or just stay for a chat with http://www.xlrecordings.com/news/ stream that reflected themes the staff and other fans. from the album and have it atomsforpeacedrawingroom delivered in a very personal way Results: from the band to fans, and then Amok entered the US album charts at #2 and from fan to fan. For maximum the UK album charts at #5. impact and a very direct-to-fans launch, Thom and Nigel [Godrich] Key learnings: took to Reddit for an AMA [ask me anything], which ended with A great record and fully formed aesthetic them pointing fans to the stream. make for a vibrant campaign. Issue 99 | 18th December 2013 | Page 7 Virgin EMI Records: Bastille

Overview: Bad Blood Investigation • Incentivised by limited-edition Bastille badges and finger-printed vinyl Campaign budget: With limited initial support at press and http://www.smarturl.it/badblood Not given. Objective was to engage fans around the radio, we had to look to less traditional An app that turned the narrative of the ‘Bad video and reach friends of fans with related channels for a music campaign and focused Blood’ (single #1) video into an online police content. Audience demographics: on digital specifically. Within digital, we had investigation: to look how best to engage a super-savvy Gender: 60% female / 40% male set of fans in new and innovative ways, all • Part 1 (pre-video launch) – asked fans Triangle Tour Age: 13 – 24 to share fake newspaper clippings that whilst aligning with the campaign’s aesthetic http://www.bastillebastille.com/triangletour Location: UK, US & Italy – particularly the narratives of the music related to the narrative in the video http://www.youtube.com/watch?v=r50ofz_ videos. • Part 2 (post-video launch) – asked fans to Team members involved: qlqY&feature=youtu.be file a witness report of what they thought Luke Ferrar – senior digital marketing had happened A series of three guerrilla gigs called the manager (Virgin EMI Records) Triangle Tour: Links: • Fans voted for the top three destinations See Overview for all links that weren’t on the current tour via Facebook • Locations chosen but hidden on a map • Fans had to share the map to reveal the locations – map zooms in to reveal them • Fans were challenged to get their seen the most times Objective was to drive regional support, create PR value around the gigs and reach • All views were calculated and put into a friends of fans through content sharing. scoreboard • Top 10 got signed prizes Gif shop Objective was to facilitate UGC and seed Demo: http://clients.ideajunction.co.uk/emi/ it through social networks, rewarding the bastille biggest ambassadors of the band. Fans could create gifs from the ‘Flaws’ video and send them in their own postcards from Coney Island, featured in that video (single #2). Issue 99 | 18th December 2013 | Page 8 continued…

Derelict cinema album screening • Screening of a film made from music Thingtank Key learnings: videos and tour visuals Demo: http://bastillelive. http://thingtank.bastillebastille.com/ • The fanbase became the ambassadors for airbornedevelopment.co.uk/ • Fans can live tweet from the screening • Complicated-looking, but not actually that the band and replaced traditional press • The page design is in line with the derelict • Can also review the album and add it to complicated tool to drive UGC channels buildings from the ‘Pompeii’ (single #3) a commemorative album cover http:// • Fans can screengrab, annotate and share • Fans were happy to share content so long video bastillelive.airbornedevelopment.co.uk/ moments from the video. as they were rewarded reviewslobby.php Demo: http://bastillelive. • Fans were privy to when they were being airbornedevelopment.co.uk/privatemovie. Objective was to drive data capture and OfTheNight.fm marketed to but didn’t mind php retargeting pool ahead of album release. http://ofthenight.fm/ • The fans are extremely tech-savvy, they • Book yourself into a screening of the • A radio station that uses a live feed of knew how to work everything and figured album the LAPD police radio and syncs it with things out easily crime scenes from the video to • UGC content is key – facilitating and Bastille’s ‘Of The Night’ encouraging fanbases to make it will give • Only live between 10pm you extra reach via social channels. and 6am • Hidden in the broadcast is a URL that takes you to hear two new Bastille tracks. • Designed to engage existing fans around ‘Of The Night’ and the repack, as well as build retargeting data ahead of release. Issue 99 | 18th December 2013 | Page 9 Universal Music Catalogue: The Beatles : On Air – Live at the BBC Volume 2

Overview: Campaign budget: In the studios of the British Broadcasting [£25,000 +] Corporation, The Beatles performed music for a variety of radio shows. On Air – Live Audience demographics: at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play Primary: Beatles collectors, 50+ male skew for the nation and includes 37 unreleased Secondary: Beatles fans from the time performances plus interviews and Tertiary: 25+ year old music fans, engaged conversation from the studio. by the personality of the band and the story of their rise through the radio The release was a great opportunity to Location: Global engage with Beatles collectors, but we also wanted to address the wider audience of Team members involved: those who first listened to, and had their lives changed by, The Beatles on BBC radio in the UMC early 1960s. microsite on the band’s main website to created to give access to 30-second clips Belle Crocker – head of digital provide a focal point for the fans. Through from a 14-track sampler. Lee Jenson – head of marketing Working with Apple Corps and Motherlode this campaign hub we debuted a selection of In an attempt to extend the reach and bring Apple Corps Media, UMC created an immersive On Air bespoke content, including a series of mini- the “DJ’s radio dedication” of yesteryear into Jeff Jones films, exclusive pre-release the present day world dominated by social track streams and previously Motherlode Media media, users were able to make dedications unseen imagery. Jeremy Neech & Lisa Salem on the Vintage Radio player via Twitter using the hashtag #beatlesdedication. UMGI Pre-release streaming: Guy Hayden – VP Apple & Blue Note The embeddable radio player was serviced Full-length pre-release track Geoff Smith – head of digital to press & became the most shared story on streams were delivered via the NME.com on the week of release. On Air microsite giving super- fans a first taste of the much- The radio player was also repurposed to anticipated album. create a YouTube album sampler to further extend the reach. To reach a wider audience, an embeddable player designed to look like a vintage radio was Issue 99 | 18th December 2013 | Page 10 continued…

Mini film series: Key learnings: To further engage the fans and drive repeat By drawing connections with the personal traffic to the central campaign hub from of radio programming of the time – platforms including YouTube we created a and film footage of the era – we were able to series of short films using archive photos and connect a release of specialist tracks with a studio chatter featured on the album. much wider audience. The aim for these films was to provide some The scheduled delivery of bespoke content insight and historical context for the release. was key in engaging knowledgeable fans Chapters 1 and 2 are currently live on the On who already knew the history of the band. Air microsite, with further chapters to come. Using the content across different platforms – and strong social support of the wider promo Results: plot – resulted in widespread exposure for • Week 1 sales ‘On Air’ finished at #12 with the album and, ultimately, a strong chart position. over 25,000 sales across all formats Links: • Album certified gold On Air Microsite: • Visits to www.Beatles.com increased by http://www.thebeatles.com/onair 200% month-on-month during the course Vintage Album Sampler for YouTube: of the campaign http://www.youtube.com/watch?v=17BOn2z2YDY • On average the reach of posts specific Film Series - Part 1: to exclusive track streams generated 3x https://www.youtube.com/watch?v=-qzNfZpcOFI more engagement on Facebook than a typical post. Film Series – Part 2: • Over 100,000 views on first two mini films https://www.youtube.com/watch?v=T1KEXyhSzB8 to date. Issue 99 | 18th December 2013 | Page 11 : Bon Jovi

Overview: Campaign budget: What About Now is Bon Jovi’s Not given. augmented reality app. Using the band’s existing app, we premiered Audience demographics: exclusive content within the app that had AR functionality. Gender: female Age: primary demographic was aged 35-44 Results: Location: top countries were US, Germany, UK, , Canada Over 483,000 app installs. Bon Jovi began messaging to Team members involved: fans, starting in December 2012, Team members involved: that their official app was going to Eric Wong – EVP marketing, Island Def Jam be a key part of the What About Allison Schlueter – VP, digital marketing, Now album campaign. This first Island Def Jam message resulted in 55,000 George Harb – digital, UMGi Bon Jovi Management new app installs for the month. Mobile Roadie. Throughout the campaign leading into album release in March, all Links: new album content debuted http://smarturl.it/BonJoviApp within the app – including song Key learnings: titles, lyrics, exclusive interviews with Jon 117k unique visitors when first piece of Bon Jovi, and the premiere of four original content launched. ‘Because We Can’ videos, all which appeared when the app was triggered by the album 90k app subscribers artwork via AR. Prior to the push there were 30% conversion rate to sales during 150K downloads of this app which launched timeframe. in 2010. Utilising new technology with a rabid fanbase that may not normally be digitally connected created excitement leading into the record release. Issue 99 | 18th December 2013 | Page 12 Bad Seed Ltd / Kobalt Label Services: & The Bad Seeds

Overview: We also engaged with new media, but in a album, but in a label voice, keeping all artist “Nick Cave” way, keeping it cool and credible interaction non-sales-based and credible. We Campaign budget: In late 2012 there were only rumours of (i.e. no Instagram or silly tweets). We also pushed the boundaries and got Nick to [£25,000 +] a new Bad Seeds album. Nick Cave didn’t also released the whole album as lyric videos, do a Twitter Q&A in his own style. In the end have a YouTube account and had not really but using Nick’s handwritten lyrics (that were the album, Push the Sky Away, debuted in the Audience demographics: engaged in new media. We decided to launch a key part of the physical product). top 4 in 18 countries with seven #1s. with a teaser trailer, which would do just that Gender: 63% male / 39% female – tease the fans and alert them a new album Age: 32% 35-44 / 21% 25-34 / 18% 18-24 Results: Key learnings: was coming. Iain Forsyth and Jane Pollard Location: Global, with large fanbases in UK, of Pulse Films created it, using footage of We had a great reaction to the trailer and We tested the theory of allowing an artist Australia, Germany and the US the band in the studio. We set up a YouTube it spread through the fanbase rapidly. The to remain themselves and yet engage with channel and published this as our first proper promo videos (and lyric videos) were social and new media in a way that fits them. Team members involved: also well received, with the latter getting This preserved the image of Nick Cave while asset on the channel, then pushed it on the Patrick Ross, Karen Lieberman, Beth Clayton socials as well as via YouTube advertising. tweets from the likes of Amanda Palmer. All allowing us to build up an invaluable market Retargeting was key and, from the beginning, of the fans that interacted with these assets database to then market to, but in a label Links: we gathered retargeting data on everyone built our retargeting list – now at hundreds voice, keeping all activities from the actual Teaser trailer: of thousands – and we were able to then band as simple “watch, listen, and engage”, that watched the trailer (and subsequent http://www.youtube.com/watch?v=aK59GDfWvsg promo videos) as well as all visitors to www. serve them ads and pre-rolls pushing the but not “buy”. Lyric videos: nickcave.com, the band’s new website. http://www.youtube.com/playlist?list=PLcXviRsCvzr BijoctDzkkeqJkyF_MYMgS Amanda Palmer tweet: https://twitter.com/amandapalmer/ status/275393363941920769 Twitter Q&A: http://www.spin.com/articles/nick-cave-twitter-qa/ Chart positions: https://www.kobaltmusic.com/page-news-detail. php?id=WN862 Issue 99 | 18th December 2013 | Page 13 Virgin EMI Records: Chase & Status

Overview: This led us to thinking we should push the voice, all while presenting her unique look to video out on a platform that had never the world in exactly the right way to launch Campaign budget: Chase & Status released their third studio been used in this way before. Powster had her career. Not disclosed. album in 2013, Brand New Machine. After the previously launched trailers for films like success of the first single and video for ‘Lost Jackass on Facebook, so we looked to use Expand on the homage paid to 1990s rave Audience demographics: & Not Found’, we wanted to create something similar technology to launch a bookmarklet culture and music in the song and Gender: 70% female / 30% male innovative for the second video. over a user’s Twitter page, enabling the effect video Age: 13 – 24 of streaming a visual ‘hack’ and then the Launch the in a new and 1990s rave culture is a consistent and strong music video. Location: All over the UK. innovative way theme throughout the music video. At the time, the UK was filled with warehouse raves, Team members involved: Chase & Status have always been known to Expose the featured artist, Moko big dance moves, highs and great dance Tom Peacock – digital marketing manager push boundaries. Throughout their career This is Moko’s first major feature on a single. tunes. We tried to push that imagery across (Virgin EMI Records) they’ve ranged from being drum & bass DJs We used her mysterious style and imagery in a unique way by combining it with the Michael Rivalland – senior to being a full-on rock band and playing in the ‘takeover’ part of the experience. She look of an old school computer hack, stock second from headline at Download Festival. gives the takeover life with her style and rave footage and shots of Moko dancing and Links: performing a few lines from the track. http://chaseandstatus.co.uk/countonme/ https://www.facebook.com/chaseandstatus Results: https://twitter.com/chaseandstatus http://www.youtube.com/user/ • 30k views in the first two days ChaseAndStatusVEVO • Social support from both Twitter and • Significant rise in Moko’s followers/likes Key learnings: • Within two weeks of the launch the single Innovative digital marketing can help raise was added to Radio 1, 1Xtra and Choice the stock of an artist as much as millions of A-lists. YouTube views. • FWA Site Of The Day Award (18th November 2013) Issue 99 | 18th December 2013 | Page 14 Commercial Music Group: The Clash

Overview: Campaign budget: An opportunity to inspire a new generation [£25,000 +] of Clash fans under 30 was identified during the consumer insight and planning stage of Audience demographics: these releases. This became a key objective of the extensive digital marketing plans put Gender: 68% male/32% female in place and various channels and initiatives Age: Focus on 18–30s were employed to engage with this younger Location: Global audience. Team members involved: ‘This Is Radio Clash’ Spotify campaign Claire Dougherty – senior marketing Built around the concept of a radio show and manager called after one of their hits, this bespoke Louise Woolsey – digital account manager Spotify content was integrated into the Niamh O’Reilly – senior director, digital, Sony band’s website and featured seven exclusive Music UK 30–40-minute documentary-style podcasts Simon Barnabas – MD, CMG presenting Mick Jones, Topper Headon and Jon Cauwood – head of catalogue & range, Paul Simonon in conversation with Johnny Sony CMG Green, their tour manager, discussing their of the hashtag #ClashFriday. A new Clash- the #MyClashCollection Facebook gallery. James Bassett – head of digital creative influences and sharing their favourite music related topic was chosen each week (e.g. This simple mechanic allowed fans to upload Heidi Boston – digital channel manager via curated playlists. The podcasts were discuss your favourite Clash album cover) photos of their merchandise collections to Isobel Kelly – digital channel manager accessible for a period of 20 minutes on and the fans were encouraged to tweet the Facebook page and these were added Agency: Retrofuzz theclash.com without being logged into throughout the day with the chance of to a gallery that currently holds a growing Spotify and were also available in a tablet- receiving recognition via a retweet. The page collection of 268 photos. The gallery optimised format. was effective in engaging established and received 9,889 shares, 65,970 likes and 876 new fans alike. comments. Twitter A Twitter account @TheClash was launched Facebook documentary series to reach out to a new, younger demographic. We interacted with fans by running engaging Audio Ammunition was an exclusive five- The account has built up 14,299 followers daily content and competitions on the band’s part YouTube documentary about the band, since its launch in May. An ‘appointment to existing Facebook page whilst generating featuring never-before-seen footage of the view’ was created every Friday with the use additional conversation via the creation of late Joe Strummer and new interviews with Issue 99 | 18th December 2013 | Page 15 continued…

Paul, Topper and Mick as they explored These covers from London Calling were Twitter: their careers, inspirations, lasting legacy made available as free downloads for a Over 14,000 followers since launch in May Links: and reflected on the writing and recording limited time on Google Play. www.theclash.com process for each of their classic . YouTube: Google Play worked with the band and Sony Results: https://www.facebook.com/theclash to produce this exciting content for fans 260,673 views for The Clash Cut Out Show on www.twitter.com/theclash Facebook: around the world and to celebrate the digital YouTube release of the five remastered albums on the 2.7m likes with 14k likes and over 1.4k shares Google Play – Audio Ammunition Google Play store. The documentary was for the newly launched #MyClashCollection. Google Play: documentary series: also designed to appeal to younger YouTube A 562,226 increase in likes over a six-month Over 150,000 video plays http://www.youtube.com/watch?v=16-WktpcHpI and Google Play users and featured exclusive period with weekly total reach increasing by Over 1.5m visitors to the feature on Google http://www.youtube.com/watch?v=e0J5cIo_usU cover versions by contemporary artists Thao 1,285,060. Play http://www.youtube.com/watch?v=bSWEF7E_CRA & the Get Down Stay Down, Surfer Blood, http://www.youtube.com/watch?v=Bo56WJ-5uuM Kurt Vile and Slipknot’s Corey Taylor. Spotify: http://www.youtube.com/watch?v=ZSgA873N1n0 The Clash Spotify profile peaked at 1,091,227 global streams during release period with streams doubling during release week. The official profile now has over 200,000 followers

Key Learnings: Even though this campaign gained unprecedented support from our partners and was our biggest ever catalogue artist campaign in that regard, it is difficult to tell that story without broadcast and without visuals. Issue 99 | 18th December 2013 | Page 16 : Decca at the Proms

Overview: download when signing up to our mailing Results: list. We linked this to a mobile-optimised Campaign budget: A text message proximity campaign at A CTR of over 2% (reaching around 4% on . Working with Weve, we geo- [£0 – £500] the annual Proms classical music festival. some nights) and a conversion rate of over fenced the and delivered Flyering is difficult and largely ineffective at 70%. text messages to the audience before and Audience demographics: the Proms, so this year we wanted to try a after the concert, with text message unique different approach. Gender: male/female to each night linking to the landing page and Key Learnings: Age: 55+ We packaged up seven tracks from some of free download. Share your data with your partners. Weve Location: Royal Albert Hall. Location our artists appearing at the Proms as a free told we were unusually open with them on targeted. our activity. If we hadn’t had been watching, talking and sharing data the campaign might Team members involved: not have lasted the three months as the Gavin Bayliss – marketing manager first two nights had very poor results which David Heath – digital campaign manager we then turned around into a successful campaign. Digital isn’t a print ad – stay agile Any other notable info: and watch it like a hawk. There is a lot of work to be done on helping the core classical consumer on their ‘digital journey’. As much as collecting data, this was a chance to give this audience a positive digital experience. There was a single message, no hard sell and hopefully gave this niche audience a good experience around mobile. Issue 99 | 18th December 2013 | Page 17 RCA: #StudioZoo

Overview: for five weeks. A hub page, designed and physical objects to Twitter’s API. Through the built by Powster, allowed viewers to switch use of a series of , fans could unlock Campaign budget: In the build up to the launch of Newton between the four feeds freely, giving them animal noises and see the results live. On the 30k+ Faulkner’s fourth album, , RCA unrestricted access. Guest appearances, night of the album launch, users were even worked with Powster, OMG Management and Q&As and various fun activities were planned able to propel a model jeep along a , Audience demographics: Livestream to put fans right at the heart of in addition to the recording, keeping viewers using tweets to reveal the album artwork. Location: Global the album’s production, streaming the entire constantly entertained. This was not only instantly gratifying, but process live from Faulkner’s studio home. also allowed users worldwide to become Twitter was integral to the live experience. Team members involved: #StudioZoo became the world’s first live even closer to the centre of the experience. Constant dialogue over the Campaign management – RCA, OMG streaming music documentary. gave fans the ability to feedback in real The campaign launched to a core fanbase Management, Powster time and even, at times, the opportunity to over Faulkner’s social networks before Design and build – Powster Campaign influence the tracks as Faulkner recorded reaching out to a wider audience with pre- Technical – Powster, Livestream Four GoPro cameras were positioned them. rolls and digital ad spend. Video highlights, Music video and production – Powster throughout and set up using Vines and were posted over Album artwork – Emily Coxhead In the latter half of the campaign, Powster Livestream technology to stream 24/7 social networks to keep fans up to date on brought Faulkner’s house to life, connecting the week’s events. Links: http://studiozoo.newtonfaulkner.com From the process, a music video for the first single, ‘Losing Ground’, was created, commemorating events within ‘the zoo’. The album artwork also shared a similar aesthetic relationship and completely opened up the to the camera feeds. recording process for the world to see. The result was an incredibly intimate live Results: experience that saw unprecedented levels of • 500k+ page views engagement from core followers. #StudioZoo • Time spent on site: 10+ minutes successfully connected fans to the album, who are now able to recall with a sense of • 3.5k+ clicks to buy directly from the site nostalgia exactly how each track was made. Furthermore, fans were able to engage Key learnings: with Faulkner himself, who conveyed a real Giving fans the opportunity to witness an sense of warmth throughout the process, album being created in real time broke welcoming his audience into his world. down the barriers of the artist/consumer Issue 99 | 18th December 2013 | Page 18 Island Records Keane

Overview: coupled with the fact that the platform is viral How was this marketed and how did fans by nature which would naturally facilitate find out about it? Campaign budget: We wanted to find a way to identify the fans sharing of personal videos. [£10,001 - £25,000] (lower end of – we did who had bought Keane’s first album (Hopes We created a video using the app that also put Facebook marketing spend behind & Fears) but had gradually lost touch with the The application automatically pulls all of the featured photos of the band over the years. original announcement/Keane’s version of band over the years. We wanted to create an most engaging photos from fans’ Facebook This was key as we wanted to show that the video, which we have accounted for.) emotive storytelling tool that helped remind profiles using the Facebook API (the photos band were fully supportive of the concept them why they loved the band’s music with the most likes/shares/comments from and this was the best CTA to get fans Audience demographics: their friends). These photos will typically be involved. which would, in turn, help promote the Best Gender: 55% female / 45% male Of Keane album that they could then share key moments in people’s lives: graduating, We then launched the app with a Facebook 25-40 getting engaged, weddings, having children, Age: with their friends and loved ones. Rather video post which has had a great response than You Tube or Spotify, we decided that holidays etc., so it will help show how Location: 1 Mexico, 2 USA, 3 UK, 4 Brazil, 5 with over 3,000 likes and 559 shares. Argentina. Facebook was where we had the best chance people’s personal lives have evolved – much of reaching these fans due to the massive like Keane themselves over the last 10 years. The app was also promoted in an email to the global user base and broad demographic, official Keane database and on their www. Team members involved: keanemusic.com website and Twitter as well Glenn Cooper – director of digital (main as all Island channels. driver behind the application) Alastair Smith – ecommerce D2C manager Impact Sam Lunn – product manager Over 2,000 videos were created and shared using the app in the first 72 hours, which was Links: a great start and the vast majority were from http://www.everybodyschanging.com the organic post rather than bought media. https://www.keanemusic.com http://www.facebook.com/keane Most of the views are on desktop as the app is optimised for desktop due to the Any other notable info: complexities and restrictions of working with The app was developed by The Unit. iOS/Android on the dynamic creation and The video was directed by Tom Greaves. rendering of the video in real time in HTML5. You can still create and view your personal In addition to working with The Unit on the videos on phone and tablet but it’s a stripped development of the app, Facebook worked closely with Island’s media agency TED@ back creative. Mediacom on the launch promotional activity. Issue 99 | 18th December 2013 | Page 19 continued…

We have now had over 4k videos (as of 14th biggest hits, whilst doing so, and what marketing we would usually do on a Best November) created and the app / www. memories that song brought them. Re- Of campaign. everybodyschanging.com website has had connected them with the band. • Come up with a concept that will resonate over 25k unique visitors in under a week. • As Comufy was built into the app, we were with the acts audience (30-40-year-olds) able to send a direct sales message via a and involve engaging content (photos). Results: notification with everyone who had made • Engaged with Keane’s ‘lapsed’ fanbase a video/engaged with the application. through Facebook. Key learnings: • Very impressive level of engagement with the application through first few days and • For a Greatest Hits campaign you week. cannot rely on the core audience – it’s for the masses. So how do you reach • Created chatter amongst old friends them online? We think we have done on ‘memories’ and reminded them of so successfully through this online tool, ‘Everybody’s Changing’, one of Keane’s alongside all the other offline promotion/ Issue 99 | 18th December 2013 | Page 20 : London Grammar

Overview: Campaign budget: For the release of London Grammar’s debut [£2,001 - £5,000] album we teamed up with The Creative Corporation to give fans an interactive way Audience demographics: to preview the band’s album online ahead of Location: Worldwide its official release. We wanted to make it feel like more of an event for fans and give them Team members involved: access to unseen content, so we set out to Penny Darbyshire – senior product manager build a custom microsite to achieve this. Julien Vier – digital marketing Using the SoundCloud API, we built our Dave Stansbie – MD at The Creative own player to host the album stream on the Corporation band’s website via a microsite. The microsite also displayed a mix of images from the Links: album artwork as well as pictures taken http://londongrammar.com/ifyouwait/ by the band while recording the album, lyrics from each track, links to the band’s social network sites, Facebook and Twitter comments and links to pre-order the album The splash page went live a few days before Results: the stream was available, with a countdown Key learnings: (digital, CD and vinyl). • The advance stream generated a 347% and registration form, in addition to being increase in pre-order clicks via the band’s • Fans were not reluctant to register with In order to access the stream, fans were shared on the band’s networks to allow fans website. their email address and their Facebook/ asked to apply for tickets and book a time to apply for tickets and be the first to listen to Twitter account to access to the stream to stream the album by using their email the album. • We saw an 80% increase in Facebook and exclusive content. address and either their Twitter or Facebook likes and 83% increase in Twitter followers We saw great online engagement from account with the option to share the event during the week of the stream. with their friends for added engagement. The fans worldwide during the week of the stream was available worldwide, so we set up stream that not only saw the word of mouth • Over 30% of the plays came from the UK four listening sessions a day that were four continue to build on the band, but also with the US, France and Australia as the hours long each to make sure fans around increased their social network numbers and territories with the next biggest number of the world were able to login at a convenient album pre-orders. streams showing the worldwide reach of local time. the band. Issue 99 | 18th December 2013 | Page 21 Because Music: Metronomy

Overview: for fans to listen first exclusively via The way to open ourselves up to a vast existing Night Sky app. With an existing fanbase of fanbase with zero expenditure, whilst giving Campaign budget: We decided that we wanted to launch ‘I’m over 3m (650k in the UK, 1.5m in the US), the media an angle to explore and write about Not given. Aquarius’ differently to the norm. After some app is currently available on iOS or Android that was far more interesting than your brainstorming we came up with the idea for £0.99 and frequently resides in the regular album announcement. Audience demographics: that the lead single would be made available respective stores’ top 20. Not only intricately Gender: 52% female / 48% male linked lyrically to the song itself, we found Results: that The Night Sky is a beautiful and magical Age: 18-14 and 25-34 were the biggest age way of identifying the stars, planets, galaxies, Online categories constellations and even satellites above in Location: 1 Paris, 2 Mexico City, 3 London, • SoundCloud – 250k plays the sky in an awe-inspiring visual manner. 4 Lyon, 5 Berlin. You can stand anywhere and hold your • YouTube – 62k plays handset up to the sky and The Night Sky Team members involved: creates an enchanting replication, which Key learnings: Johnny Brocklehurst – head of marketing displays the names of the stars, planets and The most important thing for us on this Jane Third – VP other objects one can see in the sky. Even if campaign is that it has really changed the your view happens to be obscured by clouds culture of how we look to or daylight, the app will know which stars, release things. I think it is planets, constellations are hiding from your ingrained in people that if you view. have a big returning band The rollout was that all users (new and with a large existing audience, existing) received an update that they if you don’t start with radio, needed to activate a week prior; then at you risk the chance of having 7pm on Monday 11th November users had that big launch you are after. to scan the sky, looking for the Aquarius This has proved the opposite. constellation. Once found, they were able We managed the launch in a to stream the single by simply clicking the creative manner which not constellation itself, which then linked through only gave us column inches, to our iTunes album pre-order with an instant but we still managed the gratification of the single for iOS users and biggest launch on radio the the Metronomy D2C store for Android. band have had to date, thus Aesthetically this was the perfect match for placate both online and radio. Metronomy – but in parallel it was a fantastic Issue 99 | 18th December 2013 | Page 22 Virgin EMI Records:

Overview: • All social tone of voice reflected hotel pools so we could maximise the impact. speak – i.e. checking in to watch a video Campaign budget: 2013 saw the release of Naughty Boy’s • The featured artists were key in the etc. Not given. , . creation of Hotel Cabana trailer (part 2). • Using normal developer APIs but placing Our objectives were to; Audience demographics: them in a hotel environment Results: Gender: 50% female / 50% male • Evolve Naughty Boy from a producer to • Hotel lift album sampler using • The immersive website has an average an artist Age: 13 – 24 SoundCloud http://www.hotel-cabana. visitor retention of over six minutes. Location: Mainly UK, central Europe • Develop an online hotel world to reflect com/hotel/ • The hotel lift album sampler has been fanbase growing rapidly the album concept • Surveillance room gallery using streamed over 800k times. • Maximise the impact of featured artists on Instagram: http://www.hotel-cabana.com/ Team members involved: • ‘La La La’ ft. – #1 in the UK and the album gallery/ Stephen Fraser – digital marketing manager now over 1m Naughty Boy singles sold • Hotel album trailers featuring Emeli (Virgin EMI Records) Evolve Naughty Boy from a producer to • Hotel Cabana – #2 album in the UK Sandé, 32, , Sam Smith, Sarah Crane – senior marketing manager an artist George The Poet, Gabrielle and Professor (Virgin EMI Records) Socials Naughty Boy had such a clear concept for Green his album that our challenge was to bring • The producer Naughty Boy – 2.8k Links: http://www.youtube.com/ that vision to life through visual and digital Facebook and 3k Twitter (June 2012) www.hotel-cabana.com watch?v=TUpCGAZkXUE content. We mapped out the journey the • The artist Naughty Boy – 131k Facebook www.facebook.com/NBoymusic http://www.youtube.com/ fan should have from arriving to the hotel, and 55K Twitter (November 2013) www.twitter.com/naughtyboymusic entering the establishment and then the watch?v=H6bDC97RqZQ www.youtube.com/naughtyboyvevo experience they should have inside. This Key learnings: journey took place from single to single and Maximise the impact of featured artists we revealed slightly more of the hotel owner on the album • The audience were massively receptive to taking music out the normal context (Naughty Boy) from single to single. This • We gained social trust and cooperation and reworking into an almost film-like caused intrigue into who Naughty Boy was to promote our content via their social campaign. and helped propel him into the limelight. channels. • Fans loved becoming immersed in a Develop an online hotel world to reflect • Using remarketing, we created vast pools fictional world with their favourite artists the album concept of data that we then re-promoted our which resulting in longer dwell times on products to. We had specific advertising • We launched www.hotel-cabana.com all platforms. creative to display to the different artist instead of a normal artist website. Issue 99 | 18th December 2013 | Page 23 Island Records: John Newman

The website: Campaign budget: The johnnewman.co.uk website has been [Lower end of £10,001 - £25,000] the focal point and hub of the digital activity surrounding the release of his #1 debut Audience demographics: album, Tribute. Gender: 60% female / 40% male Within the album sleeve to Tribute, is a Age: 18-55 beautifully designed Tribute Tree where John Location: Countries (Facebook): acknowledges all his musical influences that 1. UK (25%) led to the creation of his self-written and co- produced album. 2. Poland 3. France Tribute Tree (as part of website): 4. US We also worked with The Unit design Growing internationally.: Mexico, Italy and agency to bring the Tribute Tree to life using France. YouTube. When fans navigate through the page and click on each artist their YouTube Team members involved: video loads in the central “diamond” playing Lucy Fortescue – digital marketing John’s favourite track from each artist. This My Tribute – Creating Your Own Tribute by our chosen commerce partner Sandbag co-ordinator has proved to be one of the most active and Tree (as part of website) and individually printed by printpressonline. Alastair Smith – ecommerce manager com. engaging section of the website as users We also launched a My Tribute section of the Glenn Cooper – director of digital explore and discover artists new and old. The website. John wanted to offer his fans the Natasha Mann – senior product manager Tribute App (Facebook and standalone): website also features a bespoke community ability to create their very own personalised section where fans can create their own ‘Tribute Tree’ design and show all of the We created a mechanic whereby fan made Links: profile, connect with other fans and post artists and bands that have soundtracked videos and images can be pulled into a single http://www.johnnewman.co.uk/ comments and images from the live shows page. This page sits as a standalone webpage their life. The tree can then be shared on https://www.facebook.com/ they have been to. This will then grow to Facebook, Twitter or Google+ and also have and also as an app on Facebook. johnnewmanmusic become a living, breathing archive of all the option of buying a bespoke high-quality Videos are automatically pulled in from https://twitter.com/JohnNewmanMusic John’s gigs throughout his career. A2 print of their Tribute Tree. and Instagram when a user uses the hashtag http://mytribute.vinebeats.com/ http://www.johnnewman.co.uk/interactive_ Each print is purchased through John’s very #MYTRIBUTEVID and played in the centre. tribute_tree own D2C webstore by quoting the unique PIN Users can skip through and choose the at the checkout stage. The prints are fulfilled videos to watch. Issue 99 | 18th December 2013 | Page 24 continued…

We can also enable the app to pull in Basic social network/database stats over the Key learnings: early start, when it came round to doing the pictures. This app will prove particularly last few months have been exceptional: ticketing for John’s early headline shows, we By working closely with John creatively and useful around John’s tour, whereby it will be a were in a position to be able to negotiate up 12,300 person database built from scratch concentrating on building a solid fanbase central hub for fans to upload and share their to 100% (unheard of) of the ticket allocation over 10 months. from the start, we were able to drop exciting tour footage. to sell D2F via his own ticket shop, for John’s and relevant content/D2C offerings to an A huge Facebook increase from 42k on the first show in London, and high percentages engaged, responsive audience around the Results: 1st August to 186k to date. During week of ever since for his two headline tours since. singles and album launch. release his engagement on Facebook was We have gone on to sell over 3k tickets D2F There was a 300% increase in web traffic 20%, which was great as it meant we had Since then we’ve seen his social networks across the two tours and his first headline week of release. a captive audience to push our marketing grow at an exceptional rate and have been show. We have therefore been building The average time spent on the Tribute Tree messages to on release week. able to re-promote these digital assets as on our ‘early adopters’ database with D2C page was over two minutes and 30 seconds, Plus an impressive Twitter increase from 27k discovery tools to a whole new pool of fans. ticket and webstore purchaser data, further considerably over the average user time. increasing our direct relationship and on the 1st August to 70k to date. Due to the strength of our database from an knowledge, with John’s key fans. Issue 99 | 18th December 2013 | Page 25 : Nine Inch Nails

Overview: Campaign budget: We set up a balloted ticket system around [£500 - £2,000] – cost for the Ticket Ballot one show in the week of release on www. campaign ninscala.com and gave fans the opportunity [£2,001 - £5,000] – Radium One online spend to win tickets to the sold-out show by tweeting with the hashtag #NINSCALA. This Audience demographics: was supported on Nine Inch Nails and on Polydor Records socials. Gender: 70% male / 30% female Age: 18 – 34 By tracking #NINSCALA with Radium One, Location: London, we collected 20,000 cookies on the hashtag alone to add to our vastly growing pool of Team members involved: nearly 200,000. This enabled us to re- target the users who interacted with the Sam Sissons – senior product manager competition tag and any associated links Olivia Hobbs – digital campaign manager with our advertising – key to our marketing strategy. Links: Ticket Ballot page: www.ninscala.com Results:

• #2 UK album • Created positive sentiment among • A reach of over 3.6m the fans • 11,000 tweets • Created a wider awareness of the band leading up to their album • 50,000 searches release • Trended globally, twice Key learnings: • Collected 20,000 cookies That even one event can be an un- • Total cookie pool peaked at over 200K, locker in any campaign. the biggest cookie pool for Polydor artists • A second wave of online chatter after the gig had sold out Issue 99 | 18th December 2013 | Page 26 Universal Music Catalogue: Nirvana – In Utero: 20th anniversary re-issue campaign

Overview: #myNirvana fan wall: the album release by using #myNirvana, #playNirvana and #LiveNirvana. Campaign budget: UMC & Powster created an In Utero- The main objective of the In Utero 20th [£5,001 - £10,000] anniversary digital campaign was to branded Fan Wall on nirvana.com which was Entries were judged according to the reconnect with the original fans aged 35+ populated with user content from Instagram, following criteria: Audience demographics: who were there the first time around and Vine or images on Twitter. • Relevance to the theme Gender: male skew had a deep connection with it. We aimed to Incentivised by the chance to win an • Relevance to the campaign, band and Age: 35+ do so in a way that also told these stories exclusive Anton Corbijn photo print and In album Location: Global to a younger, more web-savvy, audience Utero prize bundle, fans submitted content and enabled them to share within it. We in response to a series of three hashtag • Creativity/inventiveness of the submission developed two global initiatives for this: Team members involved: challenges in the three weeks preceding The intention of the campaign was to harness the creativity of the UMC Belle Crocker – head of digital fans across Nirvana’s expansive Lee Jenson – head of marketing social channels and create an Hannah Chadwick – product manager opportunity to connect to users daily with content that directly UME Team Adam Starr – senior director, marketing referenced fans themselves, Doug Barasch – senior director, digital engaging them and promoting/ marketing counting down to the album itself. UMGI Chris Hilton – director of marketing The site was promoted via activity on the band’s social Powster James Swindells networks and eCRM. The Creative Corporation Dave Stansbie

Links: #MyNirvana fan wall: http://www.nirvana.com/mynirvana In Utero Poster Lab: https://www.facebook.com/Nirvana/ app_423522001100635 Issue 99 | 18th December 2013 | Page 27 continued…

In Utero Poster Lab: Results: • Devices used: Through #playNirvana, we learnt that Nirvana fans will go that extra mile. We were The Nirvana In Utero poster lab allowed fans »» 71% desktop keen to minimise barriers to entry, but by from around the world to create a unique #myNirvana Fan Wall: »» 27% mobile the fact that so many fans recorded and piece of artwork and share with their friends • 26,000 total page views for the uploaded content showed us how committed via Facebook. competition »» 2% tablet they are to the band. It demonstrated how Housed within a Facebook app on Nirvana’s • Highest level of traffic in a day – 5,345 In Utero Poster Lab: popular Instagram video is as a social official page, the Poster Lab was translated views platform. into seven different languages and allowed The initiative generated 12,500 entries and • Number of submissions by platform: fans to unleash their creativity using a supply 8,500 additional database sign-ups. of stock imagery and visual assets. »» Twitter – 5,552 Any other notable info: Key learnings: This was a collaborative project driven by the »» Instagram – 1,027 (of which 250 were In Utero Fan Wall developed by Powster: www.powster.com @powster marketing teams in the US (UMe) UME, UK Instagram video) Both executions allowed fans to get directly (UMC) & UMGI. involved in the anniversary campaign; In Utero Poster Lab developed by »» Vine – 77 visualising their appreciation and dedication The Creative Corporation: to the band via multiple social networks. www.thecreativecorporation.com Issue 99 | 18th December 2013 | Page 28 / :

Overview: and globally, the world was abuzz with 1D Results: Day. Campaign budget: 1D Day was a two-month global digital • Biggest YouTube music live stream ever [£25,000] marketing campaign culminating in a The 1D Day stream was a live broadcast (for all stats) marathon live stream from the band and a extravaganza. Run over seven hours, 1D Day • 3.5m views of the live stream and 24-hour Audience demographics: subsequent eight-part online mini-series. was designed to cut across every time zone catch-up in order to reach 1D fans in every corner Gender: Female For the month leading up to 23rd November, of the globe. Led by the boys themselves • 771,418 peak concurrent viewers local countries ran a variety of competitions and featuring some of their A-list celebrity Team members involved: for 1D fans to show their love for the band. • 23:37 average live view duration: friends, 1D Day appealed to parents and Genevieve Ampaduh The winning fans featured in a variety of non-1D fans as much as the core 1D fanbase. • #1DDayLive dominated Twitter Nadia Themistocleous ways during the stream – from appearing in With the quality of Saturday night Abigail Balfe VT, interacting with the boys in live Google »» Trended #1 worldwide for eight hours combined with the intimacy and immediacy Laura Murray-Willis Hangouts and the ultimate prize – being fans receive from online streams, 1D Day »» Minimum of five worldwide trends at all flown to the studio in LA to take part in the surprised and delighted viewers by giving times... and up to eight Links: event itself. Local competitions ranged from them a unique insight into the world of One http://www.youtube.com/watch?v=aSkUsrLQ Poland’s strong man pulling a truck of 1D fans »» 12m mentions of all 1DDay-related Direction. Drc&feature=youtu.be to Radio Disney choosing a fan live on 1D Day hashtags in just seven hours and taking her in a limousine to the studio for Created by Syco Music and Fulwell »» 78k new Twitter followers (normally a once-in-a-lifetime experience. Both locally Productions 1D Day create unprecedented 25k) Key learnings: buzz both on- and offline, attracting • Almost 1m new Google + followers in Listen to your audience: 1D Day was born out even the most casual seven hours of desire from fans to have more live streams. lurker to see what all • 30 smooth-running Think big: 1D Day had the ambition to deliver the fuss was about. the best quality entertainment experience • 165,000 new YouTube subs on 1D Day 1D Day was timed for fans. • 1.2m Zaps of content (Zappar) for the release of Empower local territories: 1D Day allowed One Direction’s third • 633.000 people took part in the local countries to adapt the campaign to album, Midnight #1DDayQuiz (web app) their local needs and add their own flair and Memories, and creativity. assisted in driving awareness, positive buzz and sales. Issue 99 | 18th December 2013 | Page 29 Brownswood Recordings: Owiny Sigoma Band

Overview: We were also working on a very limited and unusual. Then Louis the bass player from budget, so had to be creative about what we the band brought us a brilliant video he had Campaign budget: We were launching Power Punch, the second did to market the record. made using footage on his iPhone, shot on [£0 – £500] album for Owiny Sigoma Band – a band made tour. We posted this on YouTube and it went up of members from Kenya and London. The Video creation: viral very quickly, including getting a great Audience demographics: record was being marketed to a fairly niche reception in Kenya, where young people are audience – an edgy subsection of the world We focussed our marketing campaign Gender: 70% male / 30% female very connected. music market, which exists in small pockets around creating really nice and sharable Age: 18 – 40 content for YouTube. On the first record across the world. We wanted to build on We made a further two videos for the Location: UK, Europe, East Africa, Japan, we had created some content using the campaign – one shot in Zanzibar when the our online profile from the first record. The USA band had not really engaged in social media UK-based musicians. For the new one, we band played a show there and a third actually announced the record with a short video on their first record – there was no website, shot specifically for the video – all on iPhone. Team members involved: (created in-house) with Joseph and Charles – Facebook fan page, Twitter account or email Finally, two live videos were shot at the two African band members talking about Emily Moxon – label manager database when we started this campaign. soundcheck for the band’s sold out show at their instruments, which are very antiquated Tom Morgan – in-house content creator Village Underground. Louis Hackett – budding video director with an iPhone Streamed show: Alex Stevenson – marketing We partnered with Boiler Room to stream a live show during the tour. Unfortunately Links: Boiler Room’s internet failed during the http://owinysigomaband.com/ broadcast. Luckily we were able to cut our own version of the day for YouTube.

Database creation: We ran a free download with email to unlock via SoundCloud in the run up to the album campaign. We also had free download codes with vinyl formats (single and vinyl album), which provided additional data collection opportunities. Issue 99 | 18th December 2013 | Page 30 continued…

Website: Hashtagging: • 5k album sales worldwide If you create really great content people will share it. We built a Flavours.Me website in house The album title, Power Punch, provided a • Sold out headline show at Village which costs £20 a year and was easily great hashtag for all the Twitter mentions Underground Don’t be on every platform for the sake of adaptable to act as a hub for all the activities of the band’s content, thank yous to key it. Although Spotify has been strong for the around the band. supporters, plus Instgram content. Key Learnings: band, we didn’t want to have an official page as the band’s taste in music is very obscure. There is no relationship between how much Facebook campaign: Results: When they attempted to make playlists, none you spend on video creation and the success of the music they like was on there. After we set up a Facebook fan page for • Over 100k YouTube views across the of the video campaign. We are really proud of the album, the band were asked to support content created for this campaign the three “official videos” for this campaign, Atoms For Peace on their European tour, which were all shot on the bass player’s • Email database of 3,000 names collected so this was the perfect opportunity to grow iPhone and edited in iMovie. their fanbase. We targeted Atoms For Peace • Facebook page up to 4.5k likes Having an in-house content creation person fans in each city on the tour for a few days • 100k streams for lead single on Spotify is a really valuable asset for a . before and after each show, to either watch a video or like the page. We also targeted areas of key support for the record – BBC Radio 6Music listeners, Songlines readers etc.

Instagram: The band embraced Instagram and the aesthetic worked great, providing fans with lots of real-time insight into events, such as the Atoms For Peace tour, travelling to Zanzibar etc. We synched the Instagram to their Twitter and Facebook, giving a great flow of content. Issue 99 | 18th December 2013 | Page 31 Decca Records: André Rieu

Overview: rely on André’s own social channels for Key learnings: marketing, so we needed a solution we could Campaign budget: André always has a range of product We had a great selection of prizes to work manage ourselves. We currently have over [£25,000 +] offerings around Christmas and we needed with (including a rare meet and greet). What 800 regular players involved in the bingo a hook for his core market that was both we wanted to do is attract players who might game. There are still a few numbers left to Audience demographics: product-agnostic and attractive as an not have been aware of André’s music before call and we see an increase in players with incentive for new audiences. We know we using our label’s trusted relationship with Gender: 50% male / 50% female every announcement by including strong can reach André’s primary demographic his audience across our mailing lists and sharing functionality on all our messaging. Age: 40+ through our social networks and mailing social networks (something we can target Location: UK (Regional) lists, so we put together an online game that The game itself was logistically a challenge very accurately using our demographic to put together. We also wanted to ensure would appeal to this audience. data). By seeding video content and product Team members involved: that players joining midway through would announcements alongside bingo updates we David Heath (digital consultant) Results: not be at a disadvantage; so we came up with have been successful in converting players a solution that would allow us to market the into consumers of André’s content online. We initially communicated the game through Links: bingo throughout the campaign without it This puts us in a good position to turn these mailing lists of similar artists and Decca’s being less attractive for people who came engaged users into customers. All players http://decca.com/andrerieu/bingo social networks. We know we cannot always late to the party. are also automatically added to André’s mailing list. Any other notable info: Screenshots attached to email. Issue 99 | 18th December 2013 | Page 32 UK:

Overview: We knew in order to pull in an album-buying centre during release week by posting up the audience we needed to aggressively drive band’s favourite fan submissions. Campaign budget: Coming off the back of two huge hit singles, our email list. We started by putting up [£25,000 +] our challenge with Rudimental was to ‘Hell Could Freeze’ ft. Angel Haze for sign- Results: develop a deeper and more meaningful level up. We collected over 10k sign-ups in the Audience demographics: of connection with the group in order to turn • 3m singles sold worldwide. first 24 hours and increased the email list casual singles buyers into album purchasers. Gender: 50% male / 50% female by 1,200% over the three-week duration • On the week of release, it was the biggest 18 – 24 Videos are a key element of Rudimental’s of the campaign. We then followed this up debut #1 album of the year. Now certified Age: releases – every one of their visuals shines a with a pre-sale ticket incentive allowing platinum. Location: UK light on a certain subculture and reinforces fans advanced access to their April and the themes of and positivity that runs May tour if they signed up. As a final push, Since January: Team members involved: through their music, so YouTube has been we partnered with Shazam to offer a free • Facebook – under 100k to over 400k Jack Melhuish – marketing director a key platform for our campaign. We’ve EP. Whenever a user tagged the track Jamie Burgess and Callum Caulfield – • YouTube – 23m views & 31k subscriptions ‘Free’ with Shazam, they’d be notified of the used all the weapons at our disposal to to 1.1bn views & 260k subscriptions marketing managers maximise views, including custom-animated free download offer and the whole sign-up Liberty Wilson – social media manager end screens pointing to different uploads, a process could be done without leaving the • Twitter – 38k to 158k Nick Tearle – web producer custom subscriber trailer for the channel and app. • SoundCloud – 20k to 215k Powster ltd – development 30-second teaser trailers for the launch of New Black – development In the build-up to the album release, we their videos asking fans to subscribe. Views launched a multiplatform social initiative Key learnings on their channel are now over 100m and Links: where fans could define what the word Live has also been a key element in taking we’ve increased their subscriber base by #thisishome - ‘home’ meant to them using the hashtag the group from selling singles into a fully 750% since the start of the year. http://www.rudimental.co.uk/thisishome/ #Thisishome on Vine, Instagram or formed album-selling act. Not only have we Twitter. The resulting submissions worked closely with the promoters to deliver Website – http://rudimental.co.uk formed an online mural that was fan pre-sales on every tour to strengthen that used as the splash page for the relationship, but we’ve also documented the band’s website and the 10 best excitement and energy of their live shows launching more underground tracks online entries received a signed copy of online through filmed live sessions of tracks at the time. So ‘Feel The Love’ had ‘Spoons’, the album on release. We saw over on YouTube, Facebook photo galleries as well ‘Not Giving In’ had ‘Hell Could Freeze’ and 5k submissions to this campaign as a montage of all the best moments from ‘’ had ‘Baby’. This not only and the dwell time on the site their summer festival appearances. kept Rudimental fans engaged but also had increased to over nine minutes. a massive impact on album pre-orders with Another key learning was the effectiveness This also allowed us to keep a soft them jumping by 250% when we dropped of balancing our major pre-album singles by sell of the album message front and the more underground tracks online. Issue 99 | 18th December 2013 | Page 33 Records: Stereophonics

Overview: the major retailers, which we used as the improve the open rates to more than 20% landing page for the majority of our online as well as growing the total addresses by Campaign budget: Their first record since leaving a major advertising. We were able to capture more than 25%. [£25,000 +] label, Stereophonics were keen to reaffirm valuable email data and retargeting cookie their indie credentials, take back creative • Email was the most important digital tool data on the site as well as integrate direct Audience demographics: control under their own label, Stylus Records, at our fingertips in terms of generating e-commerce opportunities. reactivate their core fans and reverse the direct sales of records, merchandise and Gender: Reach 44% male / 55% female tickets. (engagement 38% male / 61% female) trend of declining album sales since 2005. Email Age: 18 – 24 Website • We were able take over direct control of Social media Location: Global the email database at the beginning of the • The website was a focus for all marketing • Working closely with the artist was key campaign. The data was quite old and, as activity. We launched the campaign for growth and engagement on social Team members involved: a result, the open rates were initially low with a video splash page and deployed platforms. Alongside management and at under 10%. Through a solid content- Nick Moxham – digital manager a pre-order splash page to support all the artist, we developed a solid social John Leahy – head of label focused eCRM strategy, we were able to strategy including great content creation Clare Byrne – product manager and curation, best practice and a cohesive Laura Kelly – production manager tone in all . Dan Garnett – management Natalie Seymour – management • The band now have more than 1m social Development – Studio Juice connections – a growth of more than 30% Development – Airbourne Digital Media over the campaign. App – Mobile Roadie D2C – Sandbag Mobile Advertising – 7Stars • The mobile experience was considered Links: in every element of the digital campaign. http://stereophonics.com/ All assets were mobile-optimised where https://www.facebook.com/stereophonics possible. https://twitter.com/stereophonics • A Mobile Roadie app was commissioned to http://instagram.com/stereophonicsofficial enable a presence on the main app stores http://www.youtube.com/stereophonicsmusic and to give core fans a native mobile https://soundcloud.com/stereophonicsofficial destination in which to interact with the http://ignition.co.uk artist’s content and with other fans. Issue 99 | 18th December 2013 | Page 34 continued…

• Mobile and tablet devices now account for • We ran a series of ticket pre-sales for all house the SoundCloud player, which we • More than 250,000 records shipped in UK 54% of all traffic to the official website. the tours throughout the campaign. delivered to the media partner for them to • More than 6.6m video views This included a 20% D2C ticket allocation embed into their page via an iframe. D2C e-commerce for the November arena tour, which • More than 7.7m streams Artist Lounge • Sandbag were the D2C partner and more featured an album upsell mechanic at the • UK arena tour – 145k tickets sold than 25% of pre-orders came via the D2C point-of-sale. • Following HMV going into administration, platform, of which 90%+ were of the Amazon was the most important physical Key learnings: Album stream highest price-point format. retailer. We partnered with them on an The effectiveness of a coordinated campaign • We ran a stream of the album four days Amazon Artist Lounge. We gave them • All fans ordering via the D2C received a where all elements (press, radio, TV, online upfront of release date with the telegraph. three exclusive live-in-the-studio videos handwritten note from the band thanking etc.) are all firing at the same time, and the co.uk. This was featured on the homepage and the corresponding audio to offer their them for their order and their support. marketing team and artist are fully engaged well as their mailer and social media customers as a free download live EP. over the entirety of a campaign (16 months in channels. Instead of the usual embedded • Amazon delivered a 24% share of all this case). SoundCloud player, we built a page to album sales and a 45% share of pre-orders. The importance of key partnerships – retail and media. Deriving maximum value Vevo from the holy trinity of content, reach and • Vevo were a key partner. We ran four resource. consecutive video premiers with Vevo. They delivered more than 12m The effectiveness of considering both an impressions of Stereophonics content artist’s live business and recording business over the campaign, including on the vevo. holistically when developing and executing a com homepage coverage, mobile app campaign strategy. push notifications and YouTube network referrals. The campaign content on Vevo has had more than 6.3m views.

Results: • Top 3 album • Re-entered top 5 six months later • Top 20 for more than three months Issue 99 | 18th December 2013 | Page 35 Polydor Records / Xtra Mile Recordings:

Overview: sites to enable them to share banners and • 8,000 album pre-orders creative around the album. There was also a Campaign budget: The campaign existed on two levels – • 225k Facebook fans competition called #TapeDeckArt where fans [£500 - £2,000] – fan engagement costs granular fan engagement and one-off submitted their artwork inspired by song • 120k followers on Twitter [£5,001 – £10,000] – Live webstream costs partner promotions to aid wider discovery. titles from Tape Deck Art on Twitter and we • 4.5m video views on Vevo posted them in galleries on Facebook. Audience demographics: Level 1 – fan engagement • Sold out tour, April 2013 Gender: 55% male / 45% female We worked with Authority Communications Level 2 – partner promotions: Google • Arena tour for 2014 on sale and Frank to ramp up personal D2F Age: 18 – 24 We teamed up with Google to create a 360 communications and competitions for the Location: Midlands, South, East, Border, campaign, incorporating a YouTube teaser, Google campaign. London, Manchester Google+ Hangout, live concert stream and an • 30k views for live webstream on week of The of this was the Frank Turner exclusive Live EP delivered to Google Play. album release Team members involved: Flag which was a Twitter-led campaign The combination of a number of Google’s Sam Sissons – senior product manager asking fans to tour the flag around the platforms in tandem around release was a • Upload to Frank’s YouTube channel has Olivia Hobbs – digital campaign manager country without Frank’s help. Fans managed first and was cultivated between label and had over 80k views to bring it right the way round to the London Google directly. • 5,000 people tuned into the Google+ Links: Forum show and beyond, culminating in the Hangout Website: http://frank-turner.com/ flag being auctioned off for Shelter, raising Level 2 – partner promotions: Spotify • Highlights package has had a further 8k Facebook: https://www.facebook.com/ thousands of pounds. We worked with Spotify to develop a views frankturnermusic Fan Banners, which were circulated in campaign that built gradually, focusing on Twitter: https://twitter.com/frankturner mailers, included a permanent link to a developing Frank’s profile on the service Spotify You Tube: http://www.youtube.com/user/ download on the website and have been leading into the album. The campaign frankturner/videos • 80k followers on Spotify shared socially. These were created for included two homepage takeovers in April Vevo: http://www.youtube.com/user/ the managers of fan pages and personal driving to the album as well as a Spotify live • Over 10m Spotify streams of the new FrankTurnerVEVO EP pre-release to increase Spotify followers. album Google Live Stream: http://www.youtube. com/watch?v=mv3Dfoims1k • Recovery hit #1 on the Spotify viral chart Results: Google Hangout Highlights: http://www. youtube.com/watch?v=zsXzA4DQwW8 General + fan engagement Key Learnings: • #2 UK album Granular work with a fanbase is just as important as the wider partner promotions • #1 peak on iTunes album chart because they complement each other. Issue 99 | 18th December 2013 | Page 36 Universal Music Catalogue: Paul McCartney & Wings: Wings Over America boxset

Overview: day-by-day over a period of several weeks Results: in the run up to release, worked its way Campaign budget: The revenue opportunity from sales of the • Boxset sales in the UK alone generated almost through the dates on the legendary 1976 Not given. lavish boxset release was clear, but the 55% more revenue than any of the previous tour. challenge was to let fans appreciate the three deluxe reissues. Audience demographics: quality of a premium product that they For each date there was the setlist and a • Paul’s Facebook saw over 1m unique visits Gender: Male would have few chances to see in person gallery of Linda McCartney photos from the during the four weeks of the campaign. Age: 45 – 60 (being stocked in just a handful of physical photography book in the boxset, giving a stores). This was the fifth in a line of reissues significant look into some of the premium • AR app had a click-through rate of 16% and Location: Global, with local UK execution of the AR app from the Paul McCartney Archive Collection, imagery. The map allowed fans to submit delivered over 360 clicks to retail, all from one which had established a consistent level of their memories of the shows: both written print ad in Record Collector. Team members involved: accounts and user-submitted voicemails. sales for the premium reissue formats. UMC: MPL provided images of Linda’s actual diary Key learnings: Belle Crocker – head of digital We had to find a way of “lifting the lid” of from the time, giving users of the site a Richard Hinkley – general manager the box online and demonstrating to fans Fans love to know the stories behind the music. privileged insight into the story of the tour. Hannah Chadwick – product manager the scale and quality of the images and Access to a wealth of visual content allowed us to A number of the remastered tracks were MPL: memorabilia in it. give fans an excellent “behind the scenes” look previewed on the site and it also included an Steve Ithell – digital manager at the 1976 tour and, in so doing, showcased the We worked with MPL to create two animated “fly-through“ of the entire box. Maggie Agard – production manager quality and scale of the visual assets in the boxset. platforms to tell the stories of the tour: Quest Management: Announcements about tour date reveals Scott Roger were made through Paul’s email and social Online tour diary: Keeping the ideas focused on what we knew fans Concord Music Group: channels. were interested in (content) led to executions Dave Henson – director of online marketing Based on www.paulmccartney.com, we that delivered real value and utility to them. We Paddy Spinks – head of international created an interactive that, Print ad activation of augmented reality Pretty Good Digital (online tour diary): gallery of boxset content used technology to deliver this, rather than for technology’s sake. Older consumers of premium Sean Bullingham We put a call to action on our Record physical product don’t just live in a physical world Links: Collector print ad for readers to use the – they are highly engaged with technology when it Online tour diary: uView augmented reality app (installed serves a purpose for them. userbase = 100,000+) to scan the http://www.paulmccartney.com/wingsoveramerica/ index.html#.UpYeR9K9nms ad and preview video content, open Planning was vitally important: to ensure galleries of images from the books and everyone has bought into the idea; the technology ‘What’s in the Box?’ video http://www.paulmccartney.com/news-blogs/ watch the “fly through” video of the is built in time; the content is cleared for use; and news/27500-wings-over-america-what-s-in- boxset. the plan is communicated well with fans. This requires all parties to start well in advance. the-box Music Ally Music Ally is a music business information and strategy company. We focus on the Our clients include: Music Ally is an example of change taking place in the industry and provide information and insight into every perceptive at its aspect of the business, consumer research analysing the changing behaviour and “ best, with unrivalled coverage trends in the industry, consultancy services to companies ranging from blue of the digital music sector. retailers and telecoms companies to start-ups; and training around methods to digitally market your artists and maximise the effectiveness of digital campaigns. We also work Andrew Fisher, CEO, Shazam Entertainment with a number of high profile music events around the world, from Bogota to Berlin and , bringing the industry together to have a good commonsense debate and get some consensus on how to move forward. The Team

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