Sandbox CAMPAIGNS OF THE YEAR Issue 75 | 12th December 2012 Issue 75 | 12th December 2011 | Page 2

Introduction

Welcome to our special Editors’ picks Rob MacAllister (campaigns editor): I think that 2012 has really seen the shift away from Eamonn Forde (reports editor): Augmented end of year Sandbox – and the very static metric of “We have X million reality, like QR codes, has been knocking the final issue for 2012. We followers/likes” to the more engagement- around for years – but it was at best a curio focused perspective of “We have 10% of asked some leading UK and and at worst a novelty. The irony of The our Facebook fanbase currently engaging Rolling Stones – a celebrating their 50th US record labels and digital with our brand/page each week”. The Blur anniversary – being the act to finally take marketers what they thought campaign mentioned in this issue is an AR technology to a mass audience should of how important social media were their most successful or be lost on no one. But the GRRR! campaign can be to not just for your One Direction/ managed to connect in a way that other innovative digital campaign Ed Sheeran acts but also for a re-united AR campaigns didn’t or couldn’t. Of course, rock band. They gained a huge amount of of 2012 and their responses the sheer size of the Stones is a big part of publicity and fan interaction via their make up this issue. We hope this, but the campaign itself was a delight live stream event that led to over 57k sales – mixing cutting-edge technology with a you’ll find the following attributable to Twitter. Two campaigns that sense of humour. And the best bit was that worked really well to keep fans engaged pages a useful source of it drove sales. A lot of them. The fact that throughout are the Universal has its own AR-reading app inspiration, interest and campaign by Virgin Records and the in the shape of uView suggests this will be knowledge. campaign by Island/Def Jam US. Both saw a major focus for it in 2013. The Stones app a huge amount of UGC created and felt like was followed in late-November by one from fans were involved every step of the way. Robbie Williams, so the label is pushing it via its biggest acts, not just the ones chasing On a final note we’d just like to thank all those cool points in the self-reflecting world of tech who contribute to Sandbox this year. They geeks and digital marketers. Universal has include: Stuart Dredge, Ben Cardew, Leo kicked open the door for AR and other labels Toyama, Miranda Barrie and Steve Mayall. Also, should be able to charge through it next year. to the digital teams, new startups, tools and A year ago if you’d said that AR would be the other companies who have taken the time to breakthrough marketing technology of 2012, share details of campaigns or new ventures you probably would have been laughed out with us. We’re looking forward to seeing what of the room. How times change. 2013 has to bring to the table. Issue 75 | 12th December 2011 | Page 3

Contents:

Atlantic Records UK Island Def Jam Sony Commercial Plan B >> PAGE 4 Rihanna >> PAGE 12 Music Group Jeff Wayne >> PAGE 19 Blue Note Island Def Jam Music Group – The Blue Note App by : UMG International Groovebug (Various Artists) >> PAGE 5 The Wanted >> PAGE 13 The Rolling Stones >> PAGE 20 Brownswood Recordings Ministry of Sound Unsigned Mala >> PAGE 6 Example >> PAGE 14 Cazette >> PAGE 21 Columbia Records UK Virgin Records UK Calvin Harris >> PAGE 7 Blur >> PAGE 15 Swedish House Mafia >> PAGE 22 Decca Classics [PIAS] Recordings Young Turks / XL Recordings Daniel Barenboim & West- 30th Anniversary >> PAGE 16 The xx >> PAGE 23 Eastern Divan Orchestra >> PAGE 8 Agency – [PIAS] Media /

Domino Brand – Reebok Classics: Domino Drip >> PAGE 9 Labrinth (UK) – Orelsan (FR) – Samy Deluxe / Herr Sorge (DE) – Two Frenchkiss Records / Fingerz (IT) – Brian Cross (SP) >> PAGE 17 Co-operative Music: Bloc Party >> PAGE 10 Sony Music One Direction >> PAGE 18 UK >> PAGE 11 Issue 75 | 12th December 2011 | Page 4 Atlantic Records UK: Plan B

The launch campaign for Plan B’s #ILLMANORS and voice their opinions on During the week of release, fans were latest , ill Manors, combined the current social and political climate in prompted to vote for their favourite track Campaign budget: traditional and digital media. The the UK, reflecting the overarching subject from the album via a tab on the Plan B [£25,000 +] matter of the new album. In total, 300 of the key objective was to ensure it Facebook page for a chance to win tickets best tweets were then recreated by graffiti to attend his iTunes Festival show. This Audience demographics: reflected the scale and character of artists and projected 100ft high onto iconic mechanism shared the fan choice with their Gender: Male 70% / Female 30% the album while connecting with a London landmarks, including the Houses of by posting it to their wall. His website Age: 16-24 savvy online audience. Parliament and various Olympic locations. was completely rebuilt as a ‘responsive Location: UK The first initiative was a ‘tweet to unlock’ The campaign had more than 5,000 entries design’ artist property to ensure the best in the space of five days. All of the tweets user experience on all screen sizes/devices. campaign, which asked fans to tweet the Team members involved: hashtag #illmanorsalbum to receive a link were pulled onto the microsite and users Jack Melhuish – marketing director to pre-released tracks from the album. The whose tweets had been graffiti-ed were Results: retweeted in real-time. Olly Rice – marketing manager hashtag was included on all advertising and • 5.9m Facebook fans Nikke Osterback – digital campaign manager was prominent within TV adverts and teaser To further promote the album, Atlantic • 342k Twitter followers James Dillon – fan engagement online video pre-rolls. Records partnered with LoveLive to deliver Powster Ltd – development • 49.9m YouTube views An interactive microsite was also launched a live stream event of the album launch Pretty Good Digital – development for Plan B’s Tag London campaign. Fans party to YouTube. Fans who had taken part • 8.3m YouTube views from new album New Black – development were prompted to tweet the hashtag in the digital campaign were granted priority content Links: access to the event. The feed received over • 155k sold to date 100k live streams and over 500k on-demand Website - http://time4planb.co.uk/ • 250k singles sold to date streams after the event. The live stream Twitter graffiti campaign - http://illmanors. content was broadcast on the LoveLive time4planb.co.uk/ YouTube channel. Key Learnings: world context by projecting it onto the To target the core audience of 16-24-year-old Maximise and amplify key events by landmarks of the city fans were discussing. males, a heavy priority was placed on online harnessing the online conversation and and mobile advertising, rather than TV or integrating it into the physical marketing. Another key point of learning was the outdoor. This included in-game advertising This campaign, more than any other we’ve importance of maintaining a high quality and on PS3 and Xbox, aggressive pre-rolling on run, has seamlessly combined the use of consistent tone. This ranged from linking to You Tube, including four different teasers and big statement physical events with the a statement from Plan B about the themes of homepage takeovers on a range of relevant innovative use of digital touch points. ill Manors when the track first premiered to editorial sites across music, film, gaming and The campaign captured the online discussion having animations made for all the remixes lifestyle. around the album and placed it in a real uploaded to YouTube. Issue 75 | 12th December 2011 | Page 5 Blue Note : The Blue Note App by Groovebug (Various Artists)

The Blue Note iOS app was the The app takes advantage of features such as The app was featured in ‘New & Noteworthy’ first curated music streaming Airplay mirroring and a slideshow feature to on UK and US Apple App Stores and also Campaign budget: subscription app on the iTunes App make best use of visual content such as artist in ‘Great Free Apps’ in each country. The Not disclosed session photos. Store and the first to be launched campaign focus was on PR and App Store features, with a small device-specific ad The app has been described as a “living digital Audience demographics: via EMI’s OpenEMI initiative. spend. box set” and each month Blue Note adds more US and UK jazz fans, broken down into two The app is free to download and combines content, highlighting albums, artists, articles, The Blue Note App is the first to be groups: , discovery and social features with or featured compiled by musicians, commercially released through OpenEMI. 1) Core jazz consumer, aged 35+ content such as photos, archive newspaper journalists and other jazz experts. As such Launched in partnership with The Echo Nest clippings, articles and 30-second audio clips. 2) Discovery jazz consumer, aged 18+ it works for music lovers who want to learn at the end of last year, OpenEMI improves A monthly subscription unlocks full-length more about the genre as well as for discerning and streamlines the music licensing process track streams and additional content. Team members involved: jazz aficionados who want to dig deeper. for developers in a way that is flexible and adaptive and incorporates a unique revenue- OpenEMI – Bertrand Bodson, Kara Mukerjee, Neil Tinegate sharing structure. Blue Note – Leda Chang, Jesse Ervin, Hank Forsyth, Walter Gross, Sig Sigworth Results: Groovebug – Neil Ehardt, Jeremiah Seraphine The app saw 30k downloads in the first five Echo Nest – Shane Tobin days and has continued to perform strongly. Without divulging figures, we are very Links: pleased with the conversion to monthly http://smarturl.it/BNiPad subscription. http://gb.bluenote.com/ www.bluenote.com The app has a 4.5/5 rating on the www.openemi.com and reached #4 in the music app chart. www.echonest.com

Key Learnings: Other notable info: Blue Note also released a app and Music consumers see value in beautifully revamped website recently. packaged and well-curated digital content. The freemium model can be applied to music consumption without the necessity of in–app ads. Issue 75 | 12th December 2011 | Page 6 Brownswood Recordings: Mala

Mala had a strong cult following We announced that we were releasing the Announced the full album stream on from his previous releases on his album via a Facebook post from Mala, seeded SoundCloud via Facebook the week prior to Campaign budget: a brief interview with FACT magazine and release with Amazon buy links – creating a own label, but had never released [£500 - £2,000] for content creation. The big premiered full streams of the first single (A-side very high level of engagement (1,300 likes, 250 cost was in terms of the time dedicated from anything digitally or on CD before. on Mala’s new channel, B-side on Brownswood’s shares, 130 comments) our in-house team. more established channel). We also took control It needed to feel very organic and 4+ tweets a minute mentioning the album in of Mala’s Twitter and used it to point fans to “real” – a word-of-mouth campaign the hours after the launch of the album stream/ Audience demographics: key pieces of news, reviews etc. – linking this in the digital age. album pre-order to the flavors.me so that there was a stream of Gender: Mainly male We didn’t have a big marketing budget so we updates on there. YouTube: Age: 15-40 tried to focus on making great quality content Given that a large chunk of Mala’s sales are still Location: Global that people would like and share and then • 150K video views on Mala’s channel on vinyl, we included a download link including use free and cheap tools to disseminate them. • 1K subscribers to Mala’s channel bonus material in the vinyl format – this allowed Team members involved: We built a basic flavors.me website to collate us to capture email addresses of vinyl buyers. • 75K track streams of lead single content around the project and act as a cipher Emily Moxon – label manager • 60K video views of lead single to build our own database of Mala fans. We also wanted to convert a lot of Gilles Alex Stevenson – A&R Peterson’s online fanbase into Mala fans; we • Mailing list of 2K built in three months – Ollie Rant – digital marketing We wanted to emphasis the authenticity of could see from Facebook that the crossover averaging a 54% open rate the project so sent a cameraman to document Tom Morgan – label assistant was quite small. We did this via a variety of Mala’s trip to Cuba and built both an EPK and a techniques: tagging Mala on Gilles’ Facebook Key Learnings: video for the lead single from this footage. Links: and Twitter posts; creating YouTube playlists of Create the best quality content you can afford. classic Mala tracks for our audience who might www.malaincuba.com be new to Mala; and posting one key track on Fans engage more with artists than labels: www.brownswoodrecordings.com Gilles’ SoundCloud (as this had 10k+ followers). although Brownswood have a big following on We also used Gilles and Brownswood’s SoundCloud, we felt it would be more beneficial instagrams to post key events – e.g. cutting a to build up a Mala community by creating his of people telling their friends how much they dubplate, Mala being hand delivered his TPs own SoundCloud. loved the record. and the boxset artwork. Having a great looking product encourages use Be ready to change your plan: we made a track of Instagram – we had great tastemakers and available on YouTube within hours of it being Results: many fans Instagraming their boxsets. played on BBC Radio 1 to trump a leaked radio rip. This allowed us to monetise plays and Limited edition boxset of sold out on pre-order Listen in to what your audience are saying – we control the messages being sent around the prior to release date love Icerocket for monitoring the noise around track. 40% increase in Mala’s Facebook and counting a piece of news or content. At a moment in the likes over a five-month campaign (24K to 34K) campaign when traditional media seemed slow There are lots of great free and cheap tools it gave us confidence to hear a huge amount available. Use them. Issue 75 | 12th December 2011 | Page 7 Columbia Records UK: Calvin Harris

Calvin Harris released his album a different experience which could extend into Results: 18 Months on the 29th October. The the campaign easily and require us to maintain Campaign budget: a strong visual/flexible web presence without #1 album in the UK. challenge was to convert a single- [£10,001 - £25,000] taxing the artist’s time. The app launched on 2nd November and within buying audience into an album- a few hours went into the Music App chart at Audience demographics: buying audience at release. Album stream: #69 (though the top Artist app). Gender: Approx. 60% male / 40% female A week prior to the album’s release we wanted Website: The album stream launched on 25th October Age: Key demographic is 18-30 to create a way for people to be instantly and resulted in: We re-launched the Calvin Harris website to reminded how much they love the album, but Location: Calvin Harris is a global artist, so mirror the concept of 18 Months – pulling in a also an easy way for them to share that love. • 80,000 unique page views all campaign assets were designed to work simple timeline navigation and integrating his • 7,000+ clicks to iTunes globally. His biggest markets are the US and Working with the SoundCloud API and the social networks (Facebook, Twitter, Instagram, • 2000+ individual track tweets UK. album artwork, we created an interactive etc.) as well as news and live dates. Calvin uses experience that let fans listen to the album and • 2000+ #18months tweets his Twitter religiously, but this wasn’t a major directly affect the visuals by using flyposters • 5,800+ Facebook likes Team members involved: feature on his website until now. created on the fly from their tweets. • 8:59 minutes average on the site Karen Piper – head of digital marketing Stacey Tang – marketing manager The website uses an algorithm to weight • 580,000 individual track streams content – the more popular it is, the bigger The app: Ian Dutt – director of marketing it is on the site to give people a real sense On launch, the official site traffic increased by Sim Rollison – digital channel manager The final piece in the puzzle was a sense of fun. of importance when coming to the site for 250x (50k unique users a day), and averaged Kleber (website), Pretty Good (album stream), Looking at our demographics and typical Calvin the first time. We looked at user patterns to 25k users a day (125x previous 6 months) We Build Awesome Sh (app) fans, we realised we were really lacking in a determine the two main uses/users of the site presence in the app market. and built something that would truly offer them Key Learnings: Links: The answer was to create an app with a low We had the benefit of working with smart http://www.calvinharris.co.uk - website barrier to entry (free and compact) which and flexible developerst. Because of that, we http://www.calvinharris.co.uk/18months - would allow them to listen to the album, but could use them to think outside of the box – album stream only if they’re dancing. the mobile app (especially) a year or two ago App Store (iOS and Android): http://smarturl.it/ We integrated with the phones accelerometer would’ve been so cumbersome to build and CH18MonthsApp (iPhone and Android) to create a slick and deploy, but our developers really understood simple app that would allow a user full access to both our needs and the needs of the user the album with a twist, and as an added bonus and could accommodate them with the latest in reminding people that the album has there is inbuilt image recognition that unlocks developments in mobile operating systems. so many hits on it. Integrating some social exclusive content when you take a photo (in- interaction into the album stream was key in The album stream page was an unsurprising app) of the album artwork. This feature can be keeping people on page longer and investing success – it’s not difficult to let people listen extended into the campaign. more time in the album (one should think this before they buy, but it was key to this campaign would grow a conversion). Issue 75 | 12th December 2011 | Page 8 Decca Classics: Daniel Barenboim & West-Eastern Divan Orchestra

The Beethoven For All project young and dynamic and we filmed the making all products helped position this recording as was Universal Music’s major of the recordings, all during an annual summer the only Beethoven release to have in a digital Campaign budget: camp that is the only time these musicians music collection. At iTunes, store positioning [£25,000 +] international classical campaign meet to rehearse, socialise and perform. centred upon the innovative use of free full- of 2012; promoting the music of length video to promote the series. Getting the product right was key. We knew Audience demographics: Beethoven using the powerful the performances and music were stellar but In July the campaign turned to the UK with the Gender: Not defined social message of unity that is needed the packaging to be right – so we BBC Proms performances of all nine Beethoven Age: 25-55 embodied by the Arab & Israeli tailored releases to cater for mainstream tastes. Symphonies with Maestro Barenboim. As the West-Eastern Divan Orchestra The cover concepts were also tested with performances were TV broadcast we worked Location: Location – worldwide with key focus territories UK, US, , , and their music director, Daniel market research. with Zeebox to see how much traction we could get from third screen viewing to direct viewers Canada, and Japan. In June 2012 we released the first products Barenboim. into digital stores. Press coverage of the PROMS in the campaign – a package of all nine was very high, ending with the performance We wanted to bring Beethoven’s music to Beethoven Symphonies for the completists Team members involved: of Beethoven’s 9th Symphony (with the as many people as possible by looking to and a curated highlights compilation, as well UMG International classical teams worldwide. famous ‘Ode to Joy’ melody) on the night of a digitally native audience and presenting as all nine symphonies individually for those Wim Jenkins (UMGI Digital), Laura Monks the Olympic Games opening ceremony where the music as accessible and relevant rather who wanted to cherry pick. Further releases in (Decca) Barenboim was an Olympic flag carrier. than overtly highbrow and distant. Our the Beethoven For All series followed for the challenge was to do this without cheapening remainder of the year (The Piano Concertos In October, a track from Beethoven For All Links: or commoditising the music. The orchestra are and The Piano Sonatas). (Symphony No. 8, second movement) was http://www.beethoven-for-all.com/ chosen as Starbucks’ Pick Of The Week. Marketing the Customers could access the free track Beethoven For All download by picking up a card with a unique releases was the focus Key Learnings: code in Starbucks stores in the UK. The link of an extensive online then took the user to the full Beethoven For Reaching a mainstream audience is possible marketing campaign All: Symphonies album, available for purchase using the right project and a broad and diverse but extending to online via iTunes. This was the first time that range of marketing tools and channels to more mainstream a track of classical music had been chosen by target. channels than usually Starbucks for this popular and high visibility done for a serious Classical audiences have different demands promotion. classical recording. digitally, and digital consumers are less A close global retail accustomed to listening to classical music – partnership with Results: so getting the product offering right is key. Using Apple’s new Mastered For iTunes format iTunes using its new Global #1 classical album on iTunes as well as delivered audio derived from an HD (24-bit) Mastered For iTunes iTunes pop charts in UK, France, Germany and source to consumers and this helped boost format extensively for US. digital sales. Issue 75 | 12th December 2011 | Page 9 Domino: Domino Drip

Domino Records launched Domino to download. At least one of these is Drip, described as a “re-imagination guaranteed to be a brand new album and Campaign budget: of the fanclub”. It delivers new from time to time we’ll also include a classic [£500 - £2,000] (For initial PR and from our archive. advertising of the soft launch) album releases by Domino-signed artists, plus rare and exclusive Results: Audience demographics: tracks, direct to members’ inboxes. Gender: 70% Male / 30% female Members have also been offered Subscriber numbers have exceeded all (estimated figures) exclusive tickets to gigs by Hot Chip, expectations and shown that many of the fans of the artists we represent place Age: 25-35 (estimated) Dan Deacon and John Cale as well enough trust in our ears for us to send them as enjoying rare bonus material. We can’t get precise demographics from new music each month. These fans are our Drip but would guess at 25-35 and 70% male The basic deal is that every month Domino lifeblood and we’re extremely pleased that Location: Global compiles a bundle of two of its most exciting we can cater to them directly. As well as receiving new Domino-related albums and albums, plus bonus material for subscribers Team members involved: exclusives direct to their inboxes, subscribers have a forum to talk to us Ryan McCann and our artists. For an independent label that close connection feels Links: massively important. https://drip.fm/domino

Key Learnings: Sometimes less is more. Drip is attracting signups despite being almost as expensive per month as a Spotify membership. Curation and the personal touch are what give Drip the edge and regain meaning to music which can be lost in an era of limitless streams and limitless downloads. Issue 75 | 12th December 2011 | Page 10 Frenchkiss Records / Co-operative Music: Bloc Party

Bloc Party released their album Website: over 7k downloads since launch with 350k page views within the app, we also installed Campaign budget: Four on 20th August 2012 – their Tying directly into the concept of Four and the the album stream in here in the week prior to four colours (each band member has their own [£10,001 - £25,000] fourth after a four year hiatus. release (it only existed here and on the official colour), we created an infinity website linking The challenge was to lay the website). the colours, the sections of the site (live, news, Audience demographics: groundwork for the album to reach music, videos) with fully integrated social The album stream had: Gender: Approx. 60% male / 40% female its audience through our owned activity. channels effectively, get the media • 1,050,000 individual track streams Age: Key demographic is 16-35, though our key audiences are 18-24 excited and create a groundswell The App: • 7,000 shares on Facebook Location: Bloc Party are a UK-based around release. With a strong fanbase across email database, • 3,000 shares on Twitter fanclubs across the web, live dates and social • 3,000 ‘Fours’ created via Facebook Connect band, but have amassed a very loyal following globally, so we needed to take Fan competitions: networks, we felt a Mobile Roadie app would • 8:59 minutes average on the site suit the band. It allows direct engagement with that into consideration especially around To re-engage the social networks, we ran a • 8,800+ clicks to iTunes during the the right demographics; we also didn’t want to communications. series of fan competitions via Facebook (which promotion period replicate our website so we added some special had stagnated on 850k fans since the band had The site averages 10k uniques a day though features including the Bloc Party Weather gone on hiatus). We gave one fan (and a friend) the Facebook is well over 1m with engagement Team members involved: Fourcast – a weather app using video ‘forecasts’ the chance to fly to NYC and visit the band in growing across Facebook, Twitter and Tumblr. Karen Piper – digital marketing pre-recorded by the band, but using realtime the studio while they were recording and to Retrofuzz – website location-based weather data to give you a local hear some new songs using a Facebook fan- Key Learnings: forecast. Lee Martin – streaming page gated data mechanic. A good idea can go a long way. Everything 62 Productions / Mobile Roadie – mobile app Album Stream: in the campaign was hinged around the idea of ‘four’ and we tried to go back to what that We created an album stream which would Links: meant in context of the album and to fans (the not only let people listen to the album ahead Website: http://blocparty.com two most important pieces in the puzzle). of purchase, but also create their own ‘Four’ Stream: http://four.blocparty.com by linking to Facebook and choosing their Between the album stream (which was a simple App: ‘Bloc Party’ (iOS and Android) ‘Four’. It was important not to define what and way to engage fans and create an emotional who those Four were – we let this stay open response around the album with the right to interpretation, but ultimately we wanted to visuals), the website (which we created to be We worked with very small budgets create a visual accompaniment to the album visually in with the album artwork) and the throughout and had to cut corners, so we were which would go viral. app (which was created for fans, and meant to very lucky to find developers who were keen deliver on a single, simple but good idea in the to not only work with the band but also solve weather Fourcast), we built a campaign that Results: problems – one of the most important things to was solid and direct and delivered on our aims. #3 in the UK album charts look for in a developer. The app launched 13th August and has had Issue 75 | 12th December 2011 | Page 11 Island Records UK: Mac Miller

To coincide with the impact week Within the game app, we utilised for Mac Miller’s debut album, Blue share buttons for both Facebook Campaign budget: Slide Park, in the UK, Island Records and Twitter with a pre-loaded [£5,001 – £10,000] message that included the UK and PLA Studios created a player’s point score and a “Can Audience demographics: slide-based game for Mac Miller’s you beat?” call to action, which Gender: Not defined. website. players could then customise. Age: Not defined. The aim of the campaign was to tap into his Location: 58% US, Canada, UK, Germany existing fanbase (2m Facebook fans and 2.2m Results: Twitter followers) to increase awareness of In the first 24 hours the game had: Mac Miller as an artist and specifically make Team members involved: them more aware of his album online via • 1,005,601 completed plays Guillermo Ramos – Island Records marketing Chris Stoneman – UMGI marketing social networks as well as drive traffic to his • 97,761 page views website and start building an email database Tom Page – PLA Studios • 11,515 prize collection iFrames to utilise. George Buckenham – PLA Studios loaded (scores higher than Glenn Cooper – Island digital head The game itself involves users controlling a 1,500) Key learnings: Mac Miller character down a slide, collecting • 67,389 unique visitors to the game URL. The results of this campaign show that as Links: ice cream cones to score points, while simple as it is, a game can be an effective tool http://www.macmillerofficial.com/ avoiding mounds of poo to stay in the game. • 1,067 mentions of the game on Twitter for engaging established and new fans alike. A score of 1,500 or more entered users into from the integrated share buttons. BlueSlidePark-game/ a prize draw. As well as simple gameplay, the We found the website figures for the game Additionally in the first week there were just were exceptional and felt that this was a soundbed of the game is an instrumental repeat plays (an average game lasted 25 over 2k sign ups to Mac’s mailing list in the positive note in bringing fans to the website loop of Blue Slide Park, which suited both seconds). Due to the long times that users UK and over 13k globally. as an online destination for fans to discover the pace of the game as well as being an were spending on the game it meant that we more about Mac Miller. introduction to his album for players. were able to share as much of Mac’s music A nice element to the game was that it with fans as possible. wasn’t particularly difficult to play and that Additionally, we were able to tap into the fans found it engaging – so much so that on competitive nature of people with the self- average users spent eight minutes playing competition of trying to beat your best score the game in one go. This was intentional in (with repeat plays), but we also established a designing the game as we wanted to make global leader board so fans could see where a short-play and ‘sticky’ game to encourage they ranked against each other. Issue 75 | 12th December 2011 | Page 12 Island Def Jam : Rihanna

The #R7 campaign was launched on Unapologetic. The site launched in support release of the official ‘Diamonds’ video 15th October and is an interactive of the new single ‘Diamonds’ and the first hours later. Campaign budget: mission was to allow fans to be a part of Not disclosed. gaming experience where fans visit • Campaign resulted in a 15% increase in the exclusive fan mosaic poster for her D2C www.Rihanna7.com and explore newsletter signups package via a #777 hashtag on Instagram. Audience demographics: this site to “RIHveal” exclusive • Millions of shared impressions across Gender: 52% Female / 47% male content and prizes. Results: Facebook, Twitter and Instagram Location: Main markets were US, Brazil, Each week fans were assigned weekly trivia • 50% increase in Facebook shares with the UK, France, Italy and Spain. questions. When answered correctly, fans Key Learnings: RIHveal of the behind the scenes of the Team members involved: had a new mission to exclusive Rihanna ‘Diamonds’ video shoot, which significantly • Fans were motivated to participate Island Def Jam – Gabriela Schwartz, announcements and content and “RIHwards,” helped in raising awareness around the because they didn’t know what was behind Allison Schlueter bringing fans closer to her seventh album, each weekly reveal. The Roc Nation – Dorothy Hui, Megan Healy surprise of weekly content Gravite Creative – Ciarra Pardo (for Rihanna) and contests for each mission Planit Agency – Mike Thompson, James kept driving the level of Merrill, Galen Frazer, Ali Cannavino engagement. • Level of fan engagement Links: increased during weeks www.rihanna7.com where there was a call to http://www.planitagency.com/ action for content creation. We discovered fans like to be Other notable info: rewarded more for content - Rihanna’s album Unapologetic reached #1 in 54 countries on iTunes creation than simply filling out a form to win similar prizes. - Unapologetic was Rihanna’s first #1 album in the US and her fourth #1 album in the UK (her • Significant engagement third in a row, which ties Madonna’s record). utilising Instagram images - ‘Diamonds’ became her twelfth Hot 100 #1 during Rihanna’s #777Tour Song (surpassing Whitney Houston with 11 #1s and tied with Madonna and the Supremes, only (where she embarked on a behind (20 #1s), Mariah Carey (18 seven-day tour with 150 media #1s), and Michael Jackson (13 #1s). In addition outlets leading up to the to her 12 Hot 100 #1 singles and 23 Hot 100 Top 10 singles, Rihanna also has 18 #1 singles on the release). Billboard Dance Club Song Charts. Issue 75 | 12th December 2011 | Page 13 Island Def Jam Music Group – Mercury Records: The Wanted

Online promotions for The online and off. Wanted’s first US Release – Campaign budget: On release: The Wanted EP jukebox [Undisclosed by the label] ‘The Wanted EP’. listening app

Pre-release: The Wanted’s US Scavenger Quest We used SoundCloud as the player, Audience demographics: Facebook App disguised in an old style jukebox that Gender: Male 25% / Female 75% you could flip through, encouraging For the Wanted’s first US tour, we made a fans to invite their friends to explore Age: 13-17 Facebook app where we posted a question the EP. The songs have been out Location: Global, but this was focused on each day, giving clues such as videos, tweets, online for a long time, but not in the the US release photos, etc. We encouraged fans to invite their US as an official release. We wanted friends as the more friends they referred the to have a destination where all fans Team members involved: more chances they stood to win a shopping could interact with each song. Even if spree with the band. Even though this was a Jazmine Valencia – director of digital a fan was from the UK and already had Marketing US-driven initiative, we wanted the UK fans the song, we wanted them to spread to spread the word. The only way to see the Increase in site traffic, and all of their socials, by the word and share on the app their Other notable info: exclusive content was if fans played the quest favourite memory of that song, whether it was encouraging fans to share and get their friends (everyone could play), but only US fans could the first time they heard it, saw it at a live show involved. All of these contests were geared Online engagement with The Wanted is win the shopping spree. At the end of the etc. This encouraged worldwide participation towards awareness and created a lot of buzz extremely high compared to other similar quest there was a private video revealed only while highlighting the tracks on the US release. and chatter online. Engagement was extremely artists. to those that played. This was launched when high throughout. We were very happy with all The Wanted had a very small US fanbase, both Post-release: the Most Wanted Fan Facebook of the results. app Key Learnings: We built a leader board app that Highlight the rest of the songs on an EP upon displayed the top 10 Wanted fans based release, the fans are already very familiar with on points, points that were received the single, but there could be other key songs on the amount of sharing about The on the album. It was a challenge to keep all Wanted’s new video via Facebook and of the fans happy with the prizing, so we had Twitter in order to win VIP access and to incorporate physical and virtual prizing for meet & greets at a show near them as everything, making sure that, no matter the well as a private Google+ Hangout chat. location, everyone had a fair chance of winning Fans were competing for the first spot, something. and even teamed up to get the results. Results: Issue 75 | 12th December 2011 | Page 14 Ministry Of Sound: Example

Webdoc competition to promote using a customised template that Webdoc When uploading their competition entry to the release of Example’s single, ‘Say created exclusively for Example and Ministry Webdoc, fans were encouraged to share their Campaign budget: Nothing’, and boost fan engagement Of Sound. entries on Facebook and Twitter using the [£0 – £500] hashtag #SayNothing to raise awareness of through user-generated content. Launched at the beginning of August, the the competition and encourage more entries. Audience demographics: competition ran for four weeks up until Fans were asked to create their own the release date of ‘Say Nothing’ (16th Once the competition closed, Example Gender: Female 52% / Male 48% personalised version of the artwork for ‘Say September). picked his five favourite entries, which were Age: 13 – 24 Nothing’, featuring their own baby picture made into personalised ‘Say Nothing’ posters Location: mostly UK-based fans, although and then signed by Example himself. one winner was from The

Results: Team members involved: • 586 fans entered the competition Lucy Blair – digital marketing manager • After the competition launch, Webdoc was Julien Vier – digital marketing coordinator Olivier de Simone – head of music at Webdoc viewed over 14,000 times, was liked 48 times and reposted 19 times Links: • Example gained 19,675 Facebook fans http://www.webdoc.com/documents/ and 50,959 Twitter followers during the C5573558-AF50-0001-4175-16D0A0801A87 campaign • Online PR coverage of the competition ran on Music Ally, , Media Essentials, AltSounds and Festivals For All • Fans were happy to sign up to a new platform in order to enter the competition Key Learnings: • A very simple mechanism can be • Example’s fans are extremely active online extremely effective in creating fan and extremely quick to engage – the first engagement and conversation competition entry was posted within five minutes of launch Issue 75 | 12th December 2011 | Page 15 Parlophone: Blur

Blur delivered two new tracks • Twitter Cards Tumblr and Instagram with a lyric, and hashtag written specifically for the Hyde • Enhanced profile page showing the date and time of the event. Campaign budget: • Promoted and pinned tweets Immediately fans went crazy speculating [£5,001 – £10,000] (Plus production costs) Park Olympic closing celebration as to what was going on. At that stage no • Analytics concert. We chose to launch the fans predicted a performance. This posting Audience demographics: new tracks first to the fans using • @twittermusic @twitteruk account support continued each day until 26th June with the full press announcement and upload to YouTube, Gender: Slight male skew an embedded live stream within The Event: the Blur Twitter account using new with from the band revealing all. Age: 70% 18 – 34 On 2nd July, Blur premiered two new tracks – The news was picked up across tech sites and Location: Global technology on the Twitter platform ‘Under The Westway’ and ‘The Puritan’ – from platforms, news sites, and radio news resulting – Twitter Cards. in over 230 online features and the first of many a rooftop in West London. The live stream was Team members involved: the first time the new tracks had been heard trending topics Blur received around the event. The campaign captured the imagination of Jude Stone – digital manager Twitter, artist, management, radio/TV, press/ anywhere – all radio and TV partners followed Alex Eden-Smith – senior marketing manager online, realising our ambitions of a genuinely the event. We worked with Twitter to be the Results: online-to-offline launch. first music partner on its Twitter Cards system, Will Nicholls – visual content manager playing the stream directly within an embedded • One single tweet with the embedded player from the @blurofficial account was viewed All at Eleven Management Through working closely with Twitter the key tweet. This was the first time a major band or components to the campaign used were: over 1.3m times artist had premiered music in this way. Links: • 75k livestream views across the 10 minutes of Twitter was chosen as the global platform due performance – more than 10k over capacity http://www.blur.co.uk to its immediacy, ability to spread virally and of the Emirates stadium http://twitter.com.blurofficial open platform – meaning those without Twitter http://www.youtube.com/ accounts had no barriers to view. • Over 1m YouTube/ views on Twitter event videos (launch, lyric, live) watch?v=Ifd9nBKSJnk – Under The Westway Immediately after the performances, iTunes performed a manual store turn and both tracks • @BlurOfficial followers increased from 16.6k to over 50k as a direct result of the activity • Instagram launched around the activity were available to download. attracting 5.2k followers in that period Unlike most live streamed music events, this • Drove 57k clicks-to-purchase using campaign launch was for two songs only. Viewers tuning smart URLs Key Learnings: in a couple of minutes late could miss half of • Immediately drove the track into the iTunes Recces and full work-throughs with production the launch so we needed to put together a singles chart, peaking at #13 watertight pre-launch plan to best drive traffic company (Pulse), streaming company • The Twitter event drove over 420 online to the event at the right time. This was an (Streaming Tank) and management well in features appointment to view. advance critical to event success. • All tweets within the campaign received Support from Twitter UK was key. We ran a two-week teaser campaign, leaking between seven and 15 times the normal reach out bespoke images across Twitter, Facebook, from the account Issue 75 | 12th December 2011 | Page 16 [PIAS] Recordings 30th Anniversary

[PIAS] Recordings turns 30 this year. The site incorporates a simple design content area also linked out to various retail To celebrate the event, we created using a variety of album packshots. Certain stores for the artist and, where applicable, we Campaign budget: a site to show the breadth of our packshots have exclusive content embedded added links to an artist’s [PIAS] Recordings [£500 - £2,000] behind them, which is revealed when a user 30 themed playlist. catalogue and also expose users to hovers their cursor over them. This allowed Audience demographics: The breadth of artists involved meant that artists we are currently developing. us to showcase albums that we didn’t have there was a wide scope for social network Gender: Not defined We worked on the concept of content for and created an interesting user exposure. We’re currently staggering the Age: Not defined showcasing 30 pieces of exclusive experience that encouraged discovery of posts throughout December from various content within the site, from artists new artists. Location: Global artists’ channels in order to keep the old and new, to tie in with the 30 Each piece of content was simply embedded campaign rolling throughout the month. Team members involved: years of [PIAS] Recordings. This using third-party services (YouTube, There has also been a PR strategy using Charlie Biles – digital manager gave fans of particular artists a SoundCloud, Topspin). We decided to use spare pieces of content as exclusives across Geoff Muncey – general manager reason to head to the site and services that users are accustomed to as key blogs. Toby Peacock – out-of house product allowed us to expose them to other opposed to hosting and developing them manager releases through the label, raising ourselves. This meant that the site would be Results: Peter Thompson – MD [PIAS] Recordings user-friendly and also meant we could save fans’ awareness of our current The campaign launched on 4th December [PIAS] Recordings team on hosting and development costs. Each roster and catalogue. and will run for the rest of the month; so at this stage it’s hard to say, but the site has Links: seen a significant amount of views so far. http://www.piasrecordings.com With further support from artists’ social channels over the coming weeks we’ll be Any other notable info: able to analyse the results. We’ll also be able [PIAS] Recordings worked together with to analyse iTunes data to see if the site has Retrofuzz to develop this project. generated sales across any of the included albums. The campaign is focused mostly on raising awareness of the label and its history.

Key Learnings: The collection and management of this with lots of different managers and artists amount of content can be very time- with various YouTube channels, SoundCloud consuming, especially when you’re dealing accounts etc. Issue 75 | 12th December 2011 | Page 17 Agency – [PIAS] Media / Brand – Reebok Classics: Labrinth (UK) – Orelsan (FR) – Samy Deluxe / Herr Sorge (DE) – Two Fingerz (IT) – Brian Cross (SP)

Reebok Classics partnered with Key campaign points: Campaign budget: five of its ambassadors to deliver • Five variations of the video, localising the an interactive music experience, platform to individual regions, is dynamic and [£25,000 +] inclusive available for free online. The Audience demographics: campaign, fully localised by • Taking content creation on Facebook up Male: 80% / Female: 20% territory, features Labrinth, Two a notch providing content to forge brand Gender: Fingerz, Herr Sorge (formerly Samy endorsement at a bespoke local level Age: 15–21 Deluxe), Brian Cross and Orelsan. • For the first time a Facebook-connected Location: Key territories: UK, France, Germany, Italy and Spain. The initial launch territories were journey that brings together three different variants into one story UK, Italy, Germany, Spain and Team members involved: France. • A user’s Facebook data campaign includes Facebook, Twitter and Agency: [PIAS] Media • Unique video and audio assets from their I Am Classic invites Facebook users to take Google+. Production Company: So & So / J and B Films part in a journey from bedroom producer hero artist The campaign has seen each territory’s brand Facebook integration and development: to supporting some of the world’s biggest • Territory specific Reebok products and buy ambassador post the first of their planned Powster stars. The technology behind this Facebook- links social media posts, promoting the campaign to connected app pulls in details, pictures and their fans. Links: friends to personalise the narrative for the user. • Reebok acts as the enabler – fans get to have access to their favourite artists, and artists Geo-sensing link: http://bit.ly/RbkCLASSIC In the two weeks since launch, the Reebok I Am Classic features content specific not can give their fans a compelling experience Classics Facebook page has seen a 1,000% Link to page containing each territory / artist only to the individual user but also to the increase in people that like the page day-to-day journey: http://piasmedia.com/work/Reebok_ international region, bringing some of the • An authentic marketing partnership talking – a direct result of fans leaving the artists social Classics.html biggest stars including Labrinth, Two Fingers, directly to fans networks to experience their own personalised Brian Cross, Herr Sorge and Orelsan up close to • Innovative leverage of endorsement journey with the brand. their fans, featuring the products that are most relationships produce an interactive video experience that in demand in the region. works cross-territory for the artists. • A compelling interaction with the target Key learnings: The I Am Classic Facebook journey is a audience The cross-territory nature of the campaign campaign designed to give the artists and the From the birth of the campaign it has been very has led to a large amount of translation and fans something that they are keen to talk about Results: clear how much planning work needs to take localised knowledge to make the campaign in the context of the brand they love. A cool place to make create a campaign that works work as it should for every user. Our and compelling experience has been created – I Am Classic was launched through each artist’s across five different territories and for five representatives in each of the key territories celebrating the work it takes to make a Classic. social media – reaching over 2.7m people – and different artists. have shown huge support, giving advice that supported by Reebok’s social media teams Our close relationship with the production has ensured that the end product is seen as if it over the launch territories. This social media company and tech team has enabled us to were a piece personally created for each user. Issue 75 | 12th December 2011 | Page 18 Sony Music Canada: One Direction

Sony Music Canada partnered Results: with platform Wattpad Campaign budget: It was read more than 100,000 times in the [£500 - £2,000] (Cdn$2500) to extend and reinforce One first 100 hours. Direction’s brand profile via a To-date the story has been read 1.6m Audience demographics: fictional Valentine’s Day story. times and provided decades of “in-brand” Gender: Female Wattpad is one of the leading fan fiction emersion. Age: 8–18 services and records over 1bn minutes of Since the release of this story, tens of Location: Global user-time every quarter. What made Wattpad thousands of 1D stories have been posted by appealing for this project were its 73% users: the top 150 stories alone account for a Team members involved: female user base and an extremely active further 25m reads (July, 2012). mobile user base, with 70% of content being Carter Marshall – digital marketing manager accessed via mobile phones. Key Learnings: Links: On 12th February, we released the first 1D Your brand becomes more relevant by using http://www.wattpad.com/story/988847-what- Official Fan Fiction story that mirrors the media formats that the kids are already makes-you-beautiful story of the video for ‘What Makes You engaged in. Beautiful’. Use a copywriter who is experience with The video takes place on a beach at night: your platform’s audience. the band members and their girlfriends are sitting around a campfire having a fun The One Direction fan fiction spoke to a time. So the Wattpad story explains what very specific audience on their own terms happened earlier that day, how all the guys and in their language. Young girls love One ended up there, how each of their days Direction and seem to be looking for ways to played out and how they found their dates. feel closer to the band through social media. Although Wattpad is a Canadian-based platform, the campaign was truly global with UK fans helping to seed the story and uniting One Direction’s global community. The peak of the campaign was when the band themselves posted on their Facebook page thanking their new Wattpad fans. Issue 75 | 12th December 2011 | Page 19 Sony Commercial Music Group: Jeff Wayne

Jeff Wayne’s Musical Version Of how do you get a new generation of fans to Martian Fighting Machine Sightings, Thunder The War of The Worlds: The New listen to a concept album, in sequence, and buy Child, Red Weed and, finally, Destroying The Campaign budget: into the story? We also needed to engage this Martians – theming our content around this. [£25,000 +] Generation new audience, who are typically hard to reach While #TEOTW site was very story-led through When initially planning the album’s digital through traditional marketing, while keeping these stages, we also used these as key Audience demographics: the fans of the original happy. moments to do audio and artwork reveals etc. marketing campaign, our consumer insight Gender: Male 70% / Female 30% had told us we had three potential audiences from the official TWOTW channels. Bearing all this insight in mind, and also for the New Generation release: 1) the fans Age: 25–40 thinking about the legendary 1938 radio All this was supported by digital advertising of the original album; 2) curious fans of the UK broadcast by Orson Welles that scared so many (with cryptic “Beware Of Martian Fighting Location: New Generation artists; and 3) an audience of people, we felt we should create something Machines” banners) on a handpicked range gamers, film buffs and sci-fi fans. more immersive in order to draw people into of sites (Mashable, Ain’t It Cool, Boing Boing Team members involved: The insight found that fans of the original loved the story they might otherwise miss. etc.), key to the audience. The call to action was Katie Stotter – digital product manager the story as much as the music. However, in simply ‘#TheEveOfTheWar. Join Us’. We created #TheEveOfTheWar – a civilian-run Heidi Boston – digital channel manager a track-based market where a lot of listening Martian defence movement, seeking to warn Niamh O’Reilly – director, digital sales and happens on shuffle, we had a unique challenge: the general public of impending Martian attack. Results: marketing, CMG This would guide a new generation of fans • Week 1 sales 34,961; chart position week 1 - Simon Barnabas – head of marketing, CMG through the story and would contextualise it #13; 11% digital sales; now certified gold Zoe Wheeler – visual content commissioner by showing how it might have played out in Paula Hartley – Digital Rebel today’s world. • Our posters and video content were covered by the likes of SFX, SciFiNow, Cultbox, and Mindshare We began in September by starting to build Viral Video Chart – sites key to the new Hello Charlie conspiracies around the pictures and findings generation audience who otherwise would coming back from NASA’s Curiosity Rover. We have been unlikely to cover the release Links: worked with Hello Charlie to create bespoke #TheEveOfTheWar site: http://theeveofthewar. • 60k views across our video content content for the site – fake newspaper pieces tumblr.com and “censored” video news pieces, some • 22k+ visits to #TEOTW on Tumblr The War of The Worlds official site: beautiful posters (in the style of government http://www.thewaroftheworlds.com Public Service Announcement posters), videos Key Learnings: of Martian sightings and the Red Weed and, finally, a survival guide. It was important that • Building awareness of rich content to • It was important to get the fans of the original this was great content in itself so that people promote an album can be tricky and counter- on board as well. We placed prominent links would share it outside of the context of productive with limited budgets. We made to #TEOTW across all the official channels, #TEOTW site. sure not to create content in a vacuum but and added #TheEveOfTheWar to all trailers, to have it play into all parts of the campaign In the weeks leading up to release, we moved videos and marketing materials. such as the audio and artwork reveals from through stages of the story – ‘Be Prepared’, the official TWOTW channels. Issue 75 | 12th December 2011 | Page 20 UMG International: The Rolling Stones

Universal Music, The Rolling Stones image with no reference to who or what they the band’s catalogue to trigger the different and Aurasma launched a global belonged to. Fans were invited to download versions of the gorilla. Campaign budget: Universal’s dedicated AR app, uView, and Not disclosed. Fans were encouraged to take photos of the campaign in 50 cities worldwide directed to scan the cover image. When fans gorilla animations in action and share them via using 3D augmented reality pointed their devices at the cover image the Audience demographics: Twitter @RollingStones including #GRRR! in technology to celebrate the 50th eyes began to blink and a teasing growl could their Tweet, or email and have them posted on Gender: Not defined be heard over a riff from the Stones track ‘Start anniversary of The Rolling Stones a fan wall at http://www.rollingstones.com/grrr- Me Up’, alluding to the fact that they belonged Age: 18-55 and the band’s GRRR! Greatest Hits. yourself/ to some sort of animal. Location: Global Spanning five continents, 50 cities and over Fifty of the best entries from around the world The social buzz started immediately with fans 3,000 locations, buildings including iconic won prizes, including tickets to see the band in trying to guess who or what the eyes belonged Team members involved: landmarks such as Big Ben and Opera concert in London and New York. too and what the implications were: e.g. “It’s Deborah Hyacinth – VP of global digital House were tagged with a variety of virtual the Beast Of Burden!”, “It’s a Panda! Gotta be a marketing 3D gorillas (affectionately named GRRRegory China tour!” Results: by Mick Jagger) modelled on the GRRR! George Harb – global digital marketing coordinator album artwork, making this the biggest global Further teasers were revealed via uView GRRRegory was seen over 200,000 times on augmented reality music campaign to date. over the next few weeks with videos being building and various Rolling Stones products. Samantha Sissons – product manager, A&M triggered from images posted on the Stones’ The competition received over 32,000 entries Records The campaign was orchestrated to build buzz social sites leading up to the reveal of the full and a 28% clickthrough rate to buy the album Orla Lee-Fisher – MD, A&M Records and drive pre-orders in the weeks leading up to and unlocking an AR experience directly from the uView app. the release of the album. Andrew Daw – VP, Universal Strategic of the GRRRegory the gorilla roaring and Marketing The campaign launched when mysterious attempting to break out of the user’s screen in Key learnings: Chris Hilton Director – Universal Strategic eyes appeared on the Stones’ Facebook cover 3D, culminating with an exclusive trailer playing Marketing in his mouth. 1. It’s a misconception that older consumers do not use new technology. We found that The Aaron Boguki – head of digital, Polydor Lastly, the global competition was launched. Rolling Stones’ older fans did in fact take part Dave Trafford – Academy Music A full-scale version of GRRRegory was placed in the campaign and it helped introduce a new Management around the world in 50 cities on buildings and younger audience to the Stones. Elizabeth Curran – Academy Music landmarks King Kong-style. Fans could follow Management an interactive map in the app to find the GRRR! 2. New technology can sometimes get you into UMG teams from around the world locations and point their device at the relevant hot water. We ran into some problems with building to see GRRRegory come to life right authorities in New York, ironically, for putting a Aurasma – agency before their eyes in various animated forms. We virtual gorilla on the Empire State building. Who let fans discover for themselves that that they owns the virtual space is still a massive grey Links: could also scan the iconic Rolling Stones lips area. Nevertheless GRRRegory is still out there – http://www.rollingstones.com/grrr-home/ and tongue logo or any CD, vinyl, boxset from catch him if you can! Issue 75 | 12th December 2011 | Page 21

Spotify partnered with Cazzette as a platform to maximise their audience. Cazzette are an independently released act Unsigned: utilising the breadth of the Spotify platform to gain global exposure. In fact, the outcome of this campaign could well be Cazzette a record deal for Cazzette, but that’s up to them.

Cazzette is the first act to partner live performances. Additional sets will be dub house sounds – illustrated by tracks like with Spotify to launch their career released on 11th December and Q1 2013. ‘Weapon’, ‘Endorphine’ and ‘Surrender’ – was Campaign budget: released today exclusively on Spotify. http:// [£2,000 - £5,000] exclusively on the service, utilising This is an exclusive, global release. Cazzette open.spotify.com/app/cazzette will launch an app to Spotify users where the entirety of the platform to build Audience demographics: an audience and grow their fanbase all of eject’s content will reside, as well as In less than a month, the video for the track Not defined over the long term. their playlists and social activity. Spotify’s has a combined viewing of l.6m on YouTube: Gender: app platform offers an opportunity to create http://www.youtube.com/CazzetteVEVO Age: Slightly younger demographics On 13th November, they dropped the first of a unique environment for an artist within Location: US, UK and globally (where three content sets from their debut album, the streaming service. Spotify will run ad Key Learnings: Spotify is live} eject. The first set was led by eject’s debut campaigns and on-going messaging in its • Spotify is a powerful artist platform – single, ‘Beam Me Up’. The content sets will social media channels to drive music fans Links: be promoted with a robust, cross-platform raising awareness of new music, driving towards the app, which is also tagged in all Go to the Cazzette Spotify app to listen to the marketing campaign across Spotify-owned engagement, helping music discovery. of Cazzette’s tour collateral. Additionally, music: http://open.spotify.com/app/cazzette and -operated properties, third-party media Spotify is engaging select publisher partners • Artists are using Spotify to drive user and Spotify and the artist’s social channels to further spread the Cazzette story. engagement with their content. As our – as well as on the ground at the duo’s user base grows and becomes more massively important. For the first time you To support the album, Cazzette engaged (thanks to features like Social), can have daily interaction with your fans, kicked off a series of live shows Spotify artist marketing campaigns are getting them involved in listening and in the US on 9th November becoming an increasingly important part spreading your music. at Lavo in New York followed of a the marketing drive. • Spotify’s platform is a tool artists can use to by performances in Boston, build community and develop one-to-one , Las Vegas and other • Spotify is being used to market both relationships with fans. Our platform allows markets. established big artists as well as up-and- coming bands. artists the opportunity to convert proactive Results: music consumers into fans. Our social • To break through the buzz, artist and features allow new fans to enlist their own ‘Beam Me Up’ went to #2 on bands need to think differently, standing social networks to create new fans. the Spotify US viral charts, and out through creativity and innovation. #7 on UK viral charts with 2m They need to promote their music in new plays on Spotify. The video has and original ways. netted 1.6m views on YouTube. • Using social media to engage with Phase two from eject includes fans, building an audience has become a wide range of their signature Issue 75 | 12th December 2011 | Page 22 Virgin Records UK: Swedish House Mafia

After an incredible rise to the top • Then the fans began to create their own of the global EDM market and sightings and sharing pictures of “things in Campaign budget: 3s” becoming one of the most talked Not defined • All pictures were shared using the hashtag about and exciting live acts in Audience demographics: #OneLastTour the world, Swedish House Mafia Gender: 50% Male / 50% Female announced they would be splitting • Tens of thousands of images were shared and Age: 16-34 up, determined to leave on a high. hosted in a gallery on onelasttour.com Global (UK is the repertoire This video explains it the best: http://www. Location: Our challenge at the start of August 2012 was youtube.com/watch?v=f_VFiSXleDM owner) threefold Results: • sell out the final world tour The announcement Team members involved: • One Last Tour sold out. 250k tickets sold in 12 Tony Barnes – head of digital, Virgin Records • deliver a hit with the final single • We announced the tour dates on 24th hours and new dates were put on sale to cope September on a map via onelasttour.com Sarah Crane – senior marketing manager, • deliver a successful final compilation album with demand Virgin Records • One date and location were revealed every • Several global trends on Twitter through the Fiona Byers – director of marketing, The teaser campaign two minutes campaign ATM Artists • In September 2012 we began to tease fans • 350k fans tuned in • ‘Don’t You Worry Child’ is the first UK #1 for about the final SHM tour. Links: • 550k hits on page SHM and goes on to be a top five hit in 22 http://www.youtube.com/watch?v=f_ • We created fake ‘sightings’ of the SHM ‘3 dots’ other countries • 1,800 hits per second for first few minutes VFiSXleDM logo around the world in locations where the • Until Now compilation album goes straight tour would be going • #SHM and #ONELASTTOUR trending at http://www.onelasttour.com/ in at #1 in the UK and top 10 in 18 other numbers 1 and 2 on Twitter http://www.onelasttour.com/dotspots/ • We asked fans to ‘spot the dots’ and countries around the world continued to release more teaser images http://www.onelasttour.com/tourgallery/ The on-sale • ‘Don’t You Worry Child’ is nominated for Best http://shmofficial.tumblr.com/ • At the same time we staged actual • The tour went on sale 28th September and Dance Recording at the 2013 Grammy Awards installations in many of the tour cities: was a huge success selling out multiple • DYWC now gold or platinum in UK, USA, OneLastTour campaign is a triumph of fan- • Three people base jumping in wearing shows in minutes including LA, NYC, San Canada, Australia and generated content and viral marketing. At times SHM T-shirts Francisco, and . our servers have been crushed under the traffic • Thousands of clings distributed in LA • show sold out in nine Key Learnings: and tens of thousands of images have been minutes created, shared, posted all of which has created • Projections in Amsterdam and We gave fans the platform, the inspiration • Three subsequent Barclay Centre shows sold and the tools then handed them the reins the perfect opportunity for us to deliver on all • Street art in Madrid and out and the results have been outstanding. The of our objectives

Issue 75 | 12th December 2011 | Page 23 Young Turks / XL Recordings The xx

For The xx’s second album, Coexist, Interactive window display Campaign budget: we wanted to have an extensive We partnered with HMV, and digital campaign that excited and developed a version of the [£5,001 – £10,000] engaged the digital-savvy audience interactive x that could sit in the window of its store on Oxford Audience demographics: that the band picked up on their Street in London. Instead of using Gender: 58% Female / 42% Male first album. a mouse pointer, or touching the Age: 18-24, 25-34, 13-17 display, we developed a version Interactive website x that tracked movement going past Location: US, UK, Germany, France, We relaunched the band’s website and added the window that then affected the Australia an interactive version of the album artwork. flowing oil patterns in the x. Depending on the time of day where you are, Team members involved: Mobile app the x will be darker or brighter in different Growth to Facebook page fan likes: David Emery – head of marketing, areas, mimicking where the sun is in the sky. Beggars Group The iPhone, iPad and Android app incorporates 100% (from 800,000 to 1.6m during campaign) In addition to that, it also detects what the the interactive x as seen on the website, but Scott Wright – head of online weather is like where you are and changes the incorporates several additions specific to Album stream: communications, XL Recordings motion in the x accordingly. mobile – it obviously uses touch to control the Naomi Scott – web developer, Beggars Group oil within the x, but also uses the accelerometer Unique visitors to the album stream: 1.8m Album stream Matt Thornhill – director of A&R, XL to make the oil flow if the device is at an angle, Plays: 8m Recordings We partnered with Microsoft to build a site and also to affect the light source making the x Shares to Facebook: 55,000 Phil Lee – creative director, XL Recordings using a whole bunch of HTML5 cleverness to lighter and darker depending on how you hold create a world map that plotted in real time it. Shares to Twitter: 20,000 Universal Everything – interactive x and app where people were listening to the album, and developer In addition it has an interactive tour map, news also how they shared it. The visualiser could (incorporating geo-specific push messaging), all Key Learnings: also be adjusted so you could look at a specific Links: the videos and the band’s store, all wrapped up time, enabling the user to see how it spread We saw a definite benefit to using the band’s http://thexx.info in a slick, bespoke interface. site as a focus, as that allowed us to control around the globe. http://thexx.info/app the experience around each announcement or Spotify page Results: piece of content. This is a strategy we hope to http://coexist.thexx.info replicate with the mobile app. http://open.spotify.com/ad/c46a3149e33f4c04 With Spotify we developed a custom page that We saw the activities working as great traffic 97bbf36c73439e84 lived within its desktop app that featured a and social media drivers. Some stats below: We also had a lot of success with working with http://thexx.info/app visualiser for each of the tracks, so you could strategic partners – Microsoft, HMV and Spotify have a visual component while listening. Website and social: – that enabled us to execute some of the more http://beggarspromo.com/marketing/ Unique visits to http://thexx.info : 4m complex ideas without sacrificing the credibility xxwindow.mov of the band. Issue 75 | 12th December 2011 | Page 24

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