Sandbox MUSIC MARKETING FOR THE DIGITAL ERA Issue 103 | 26th February 2014
Teenage rampage: speaking to early teens INSIDE… Campaigns Is understanding “digital natives” PAGES 5 & 6: really as simple as suggesting The latest projects from the they have fled from traditional digital marketing arena >> media and just live online? Are Tools those aged 11-14 so entrenched online that they have now shut PAGE 7: the lid on Facebook and prefer Grabyo >> to communicate solely through Behind the Campaign messaging apps and online games? And can they even be PAGEs 8 - 10: understood as a homogenous Haim >> social group especially when Charts musical taste twists and turns PAGE 11: an incredible amount in that brief four-year window? We Digital charts >> speak to those tasked with communicating with this age group and ask them how they do it, what language they use and how the major music consumers of tomorrow need to be understood. Issue 103 | 26th February 2014 | Page 2 continued…
Teenagers we know about: stroppy speak to an age group for whom many of the desire to communicate that already exists. Of course, this desire to connect with artists adolescents usually to be found in the long-established pillars of the music industry has always existed among pre- and early- “There are certain things you can’t do bedroom or on a local park bench; they like – notably owning music and record shops – teens – something the police who had to much about,” Fryer says. “The question of heavy metal, dubstep, R&B and anything that are insignificant at best? guard The Beatles from an audience of tastes and identity is an anthropological older people don’t. They have little money screaming, jellybean-chucking teens at the The answer, according to Universal Music UK phenomenon that you can’t drive. But you but have always been of vital importance for apex of Beatlemania will attest to. head of research Jack Fryer, lies in facilitating can try and facilitate what they are after. It the music industry. the communication between them and the is about disintermediating the conversation But digital – and in particularly social media Children, too, are fairly straightforward. They artists they are starting to admire. with artists.” – has made this connection a reality. What’s love Bieber and Disney, aren’t allowed on more, this digital link has become its own This, it is important to point out, has nothing This sense of connection, he adds, ties into most social networks and their parents will social currency, according to Fryer, where to do with marketing. The Committee of the “socialised world of digital” that this age occasionally buy them music as a gift. a retweet from Justin Bieber is the 2014 Advertising Practice Code, which governs group has grown up with. “There are lots equivalent to being the first person in your But how about those who lie in between? advertising on media other than television of millennials who have come to be digital playground to own Michael Jackson’s Bad The pre-teens and early teens, of roughly in the UK, has several pages of restrictions, natives, but for 14-year-olds, the digital world some 25 years ago. 11-14, who are neither children nor fully blown including a specific ban on including “a direct that they know is a ‘networked digital’ that teenagers? They are the so-called “digital exhortation to children to buy an advertised is arranged around communities,” he says. “The ultimate currency now is having that natives” who have been “born digital” (i.e. product”. Nor is it about reaching out to “Most things that come to market now in direct connection,” Fryer explains. “The idea after the general introduction of digital this age group. Rather, it is about enabling a digital are socialised in some way.” of having your fandom realised by having technologies). They have never known life without the internet and apparently shun traditional media. That may make them sound like a dream audience to the ever-more-digital music industry. But the reality is that there is considerable confusion between these digital natives and the “digital immigrants” who are of working age.
How can they be targeted? How can people who have learned digital technology understand those who have never been without it? And how can you Issue 103 | 26th February 2014 | Page 3 continued…
‘that interaction’ is the most important “They are not allowed on Facebook, but a Fryer also mentions app and browser-based rather than top of the range iPhones, but that thing. Content is universally accessible but lot of parents will give pre-teens access to games as being very important to this age is more than enough for basic messaging. conversation and connection is dialled up in these things,” Roberts says. “I know a parent group, as well as Instagram. Ritch Sibthorpe, MD of music at The Walt importance.” who set up an account for their child so they One of the key reasons for the popularity Disney Company EMEA, explains that get a duplicate email of notifications [from of messaging – and especially free (or “accessibility” is a major factor for this age Facebook] of what their child is doing.” Where do they live online and where close to free) services like WhatsApp and group. “iTunes, Spotify, Vevo and YouTube does mobile fit in here? Fryer adds, “Clearly, regardless of official BBM – is that children often have their first play a big role in discovery and we make Twitter is clearly very important for this age guidelines on its usage, they are still on smartphone by the age of 14. A 2012 Ofcom our music available as widely as possible,” group (even though its privacy policy may Facebook. For what it’s worth I think people survey found that around two thirds of he says. “A high proportion of those aged indicate it is “not directed to persons under have a tendency to exaggerate a sense that British children aged between 12 and 15 had 11-14 now have mobiles and we’re focused on 13”). But where else can they be found? young audiences are abandoning Facebook.” a smartphone, a figure that is actually higher creating mobile friendly sites and content.” than the UK average for adults. It is a movable feast, according to Messaging services such as WhatsApp, Is old media really redundant? Ceri Roberts, co-founder of label and BBM, Snapchat and Kik are also important, “There are a lot of hand-me-down devices,” management company Neon Tiger according to Roberts, and it is no coincidence Fryer explains. “And the fact is that some And how about TV and radio? Traditional Productions. But Facebook is very important that Sony Music teamed up with Kik for a One of the devices that are handed down are – thinking has it that this new age group to them, even if under-13s are officially Direction promotional campaign around the arguably for the first time – smart.” These has no truck with such old media. But banned from using it. release of their Midnight Memories album. may typically be cheap Android devices Sibthorpe begs to disagree. “From a music perspective, it’s less about us finding them and more about them finding us,” he says. “Our own digital and TV channels are a huge destination for this audience and music content is key across all our platforms.” He adds, “They are a key audience for our Hollywood Records artists like Selena Gomez, Bridgit Mendler and Ross Lynch as well as TV-driven soundtracks like Shake It Up. This audience has grown up watching the stars on Disney Channel and continue their relationship with them as their music careers develop.” This (perhaps surprising) devotion to old Issue 103 | 26th February 2014 | Page 4 continued…
media is largely to do with the age group’s Nevertheless, it is clearly an still rather regimented lives, according intriguing stage in a person’s Universal Music UK head of to Fryer. “It is a generation that is still development and all the more research Jack Fryer on musical spending a lot of time with their parents,” so as it may be when individual genres and early teens he explains. “Their lives are quite scheduled musical tastes start to emerge. The notion of genre distinctions is quite and rhythmical and, for that reason, become That makes it important. alien to the 11-14 age bracket. They rarely quite analogue. For example, the school run, “What is fascinating about this even try to define or ‘tag’ music in terms of a the breakfast show, the TV dinner in front of age group is they are not quite particular taxonomy. If they identify groups Coronation Street.” teenagers,” says Fryer. “You find of content it is more likely to be around As a result, this young generation – who you a certain emerging confidence attitude or sensibility. Few are familiar with might expect to be spending all their lives on among this age group. And it traditional music journalism in the way that YouTube and catch-up TV – actually lead lives is interesting how that plays perhaps previous generations had been, so that are in many ways comparable to those out with musical interests. critical perceptions of music are much more lifestyle- or mood-oriented. of their parents. “Young teenagers are often In a sense, this is an age group that is still identified digital albums are “very” or “fairly reflecting the behaviour of the ‘gatekeeper’, learning what ‘good’ looks like to them.” good” value, while 61% of respondents came Notions of genre don’t even come into the typically their mother,” Fryer says. “On a to the same conclusion about digital tracks content that they like. But – to generalise Saturday night, they are unlikely to be hitting But will they spend? and only 55% thought so of CDs. The survey somewhat – they can be characterised by an illegal rave. Rather, they are probably also reveals the importance of smartphones a certain optimism and/or positivity. As The age-old idea that early teens don’t spend sitting in watching the X Factor with mum.” in the download market: 54% of the US teens a result, with wide-ranging and obvious money on music is looking increasingly surveyed had music player apps on their exceptions, they are happy to see this This doesn’t mean that engaging with this threadbare. phones, while 26% had music store apps. reflected in the music that they choose to age group is ever going to be easy and the Admittedly, you probably won’t sell them identify with. simple fact is that many smaller record labels One of the key questions for the future may many CDs – Nielsen’s 2012 Music 360 Report simply don’t bother, figuring that their limited well be if this market will ever pay for music found that 36% of US teens had bought a resources may well be better used elsewhere. streaming. artists getting paid are unlikely to move them CD in the last year, a number that is likely to onto the paid tier. have fallen in the intervening years given the While there is no doubt that early teens have Accelerated changes in taste make them This may sound depressing. But if you take decline of America’s physical music market embraced the basic idea of streaming – 2012 tricky to pin down into account the amount of money teenagers – but early teens do still buy music, as the research from EMI Music Insight revealed spend on clothes – 21% of their total outlay, Even defining this age group is difficult, with fortunes of One Direction and Katy Perry that 41% of 13-15 year olds in the US stream according to Piper Jaffray – and socialising, Sibthorpe claiming that musical tastes and will attest. music online, the third highest percentage then it should be obvious that early teens are consumption habits evolve so quickly at this of any age group – their preponderance for Their purchases are largely digital. In the far from a music industry lost cause. age that it is hard to characterise those aged listening to music via YouTube suggests that Nielsen survey 63% of teen purchasers 11-14 as one homogenous group. arguments in favour of audio quality and Issue 103 | 26th February 2014 | Page 5 CAMPAIGNS: The latest projects from the digital marketing arena
K-Pop band Teen Top get Krowdpop works much like Kickstarter Romeo Santos’s Digital Day People en Español all on board. Through the fans to help plot tour whereby, if the campaign doesn’t meet the schedule, fans will be able to follow Santos in minimum funding requirement, the ticket takeover real time as he moves through the different The popularity of K-Pop purchases will be refunded. Sony Music Latin artist Romeo platforms. The official hashtag for the day will continues to increase amongst Santos is hosting a Digital Day be #romeotakeover. teens in Europe and North There are other platforms similar to this, such as Songkick Detour which acts such as Hot today (26th February) which The most recent high-profile example of America. Now, for the first time, Chip have been taking advantage of since includes Facebook, Instagram this kind of campaign was One Direction North American fans have the 2012. and other website takeovers with their 1D Day last November, which chance to bring boyband Teen included live streaming with the band along New York has had the highest number of where the singer will answer fan- Top to their city via K-Pop concert with competitions and activities happening ticket purchases from backers – 349 in total. generated questions. throughout a single day. platform Krowdpop. Fans were If the money collected ($103,540) is divided Fans will be able to follow the events for the able to help choose in advance by the number of backers, it means that each It’s certainly an ambitious campaign that day as a schedule will be hosted on a hub on five cities the band should visit on fan has actually spent more money than the aims to reach a large amount of people over Romeo’s website. From 12 pm to 7pm, Santos highest ticket price ($296.67 to be exact). The various platforms. It also provides a chance their upcoming High Kick world will be switching between various different campaign ends on 28th February for New for most fans to get involved during at least tour next month. platforms including Google+ Hangouts, York and on the 29th for the other four cities, one part of the day. Once the cities were chosen – in this case Reddit, Exa.com and Soundrop. It’s quite so it still remains to be seen if Teen Pop fans New York, Los Angeles, San Jose, Toronto an elaborative plan by label Sony Music Santos’s latest single, ‘Odio’, is currently #1 on will achieve their goal. and Dallas – fans were then able to pre- Latin and includes partnerships for each the Billboard’s Hot Latin Songs. He is set to purchase tickets platform with Spotify, Vevo, Terra, Exafm and perform at Yankee Stadium with a 50,000+ and fund the capacity this summer. campaign in order to get Teen Top to their chosen city. The tickets available for fans to buy on Krowdpop run from VIP options to normal balcony seats, with prices ranging from $50-250. Issue 103 | 26th February 2014 | Page 6 CAMPAIGNS: The latest projects from the digital marketing arena
Frank Sinatra Valentine’s to the Amazon and iTunes store to buy the NightBus follow Dylan with them together by keeping it in the middle. It’s latest album. not only the visuals that are interactive as the Day e-card an interactive video video includes three different audio versions Soundrop also launched a Valentine’s Day of the song: one somewhat more dancey, Finding creative ways of Sinatra room where people could log in In December, Sandbox reported featuring Hannah Melbourn – one of the exploiting classic artists’ to hear his hits via the Spotify app. This on Bob Dylan’s successful band’s singers; a more rocky one featuring back catalogue online might perhaps could encourage streaming plays interactive video for ‘Like A Jack Kennedy – the band’s other singer; or a for Sinatra among a younger generation. Rolling Stone’. Now the digital sometimes be difficult but the mix of both voices. The video is available via The website itself seems to be aimed at latest UMG campaign for Frank agency behind it, Interlude, MTV’s new platform, MTV artists. The new Sinatra’s original target market from back Sinatra cleverly used Valentine’s has been involved in another social platform allows artists to create their in the 1940s and 1950s – women. However, Day as an opportunity. interactive video – this time for own pages for free and works as a discovery Sinatra’s core market has, for a number of pop-dance band NightBus. channel for new music. Surprisingly, this seemed to years, predominately been males, due in no be one of the few campaigns small part to the emphasis on the Rat Pack’s It is not quite as elaborate as the Dylan Albeit not quite as engaging, Rudimental’s occurring on the day (not to history and iconography in the posthumous 16-channel video, but is still interesting latest video works in a similar vein through forget De La Soul’s free catalogue marketing around him. This is surely nonetheless. The video for ‘When The Night a deconstruction of their single ‘Powerless’ giveaway). UMG’s attempt to open up the Sinatra back Comes’ is formed out of two different videos. with Beats By Dre putting the focus on catalogue to an audience that hasn’t been By using the slider at the bottom, the viewer the ability for the viewer to choose what The campaign included an online e-card courted in more recent years. can choose which video to watch or blend listening experience they would like to have. maker website where people could send In the same way as cards by choosing the NightBus video, it an image, then add a makes the viewer an personal message and active participant in choice of song from the video and track. the latest compilation There is certainly space album (Sinatra, With for developing creative Love) shared via Spotify. ideas to explore video Unlike most other even further in the campaigns, the website future as the individual does not include social experience for each media share buttons for user becomes more users to be able to show important. how their cards look, but instead points users Issue 103 | 26th February 2014 | Page 7 Tools Grabyo
This fortnight we look at live it happens or not and the volume of that the #VO5music tag conversation is growing. As a content owner received 5,332 Twitter social video distribution or an artist, you want to engage in that mentions. Looking platform Grabyo, an interesting conversation; you want to be a part of it and at other sponsorship B2B startup which has recently ultimately bring your content into the mix opportunities in the music started making inroads into the of that conversation – because that’s what’s industry, Capon added, driving the conversation anyway.” “The music video format music industry by powering is a perfect social video He added, “But then you can also add in brand the video snippets tweeted format. It is premium sponsorships. If you’re a sponsor, you can content, three minutes during the BRIT Awards. associate yourself with this great piece of long, with a significant Based in the UK, Grabyo’s premise is rather content. And because you’re bringing it to the amount of fans who are simple: it allows rightsholders to capture live audience, they will be willing to sit through very active and engaged – video and to publish it across multiple social and listen to your message because you’re and it’s the right audience networks – predominantly in short form, bringing something valuable.” demographic.” Evidently though it can also do extended formats. Using Some of the company’s clients include Vevo is already taking the cloud-based platform, clients can capture, Channel 5 (UK), CBS and TRESemmé. In care of some of this, but edit and share near real-time video, pushing it the case of the BRITs, hair care brand VO5 Grabyo’s spin around the live element could manpower to record and stream events. out as Twitter cards as well as via Facebook’s published 12 exclusive videos of live footage certainly help rightsowners to bring brands news feed and other websites/mobile apps. For the time being, Grabyo remains a B2B tool using Twitter Amplify with Grabyo. on board. and does not provide a self-serve platform. In Having initially focused on the TV sector, “By distributing exclusive live content from With regards to best practices, Capon added, the case of the music industry, the company Grabyo is provisioned with satellite ingestion the BRITs in near real time, VO5 was able to “You need to make sure that you’re getting will most likely be beyond the reach of most for over-the-air broadcast TV, but it can also get involved in the buzz around the BRITs access to the right content. Your staff will but the biggest players. “We are open to take live online streams or uploads of pre- in a positive way, and we were rewarded by need to become acquainted with our user- working with different business models, recorded material. In addition to facilitating the BRITs community passing the content on friendly editing tools. You need to make charging for the service but perhaps also social video distribution, the company across Twitter,” explained Nick Adams, head sure that you set the campaign assets and sharing in the advertising income too,” said stresses the sponsorship possibilities that its of digital development at marketing agency the branding assets appropriately. From a Capon. “It all depends on the event and the service can help to unlock. Mindshare. technical and operations perspective, we can scale of the opportunity.” Speaking to Sandbox, Grabyo’s CEO Gareth provision very quickly.” The videos shared on Twitter included Broadly speaking, we understand that the Capon explained, “If you’re a broadcaster or seven live performances as well as four For those interested in an end-to-end service, company’s prices start in the thousands of a significant rightsholder, you will generate videos of host James Corden interviewing it is worth mentioning that Grabyo has a close pounds. This shouldn’t, however, deter those huge amounts of conversation. That will different artists. His conversation with One relationship with video production company with the right mix of content, event and happen all around you. You don’t have Direction generated 1,759 retweets, while Showcaster, which can provide hardware and sponsorships relations. control of it, you don’t get to choose whether Issue 103 | 26th February 2014 | Page 8 BEHIND THE CAMPAIGN Haim
Haim began last year by The build up to the BBC Sound Of topping the BBC Sound Of 2013 2013 poll was a slow, but steady and poll – a fast track to immediate structured, one success but which can also It didn’t come out of nowhere. In the late put huge long-term pressures Spring of 2012 they put their first music up [online]. The ‘Forever’ EP is the first thing on a new act. Their debut they released as Haim and that went onto album, Days Are Gone, was their website as a free download. It travelled not released until the end of really fast. September meaning there was They played SXSW that year and were one a nine-month gap that has to be of the breaking artists coming out of there filled to ensure public interest and then they got picked up by some of the media over here. Then through the summer didn’t wane and the band didn’t it was hotting up with the A&R interest and miss their chance – something the record labels fighting over them. We put made all the more precarious out ‘Don’t Save Me’ just before Christmas because they were part of a 2012, which was around when the Sound Poll Suspicions of hype can kill a band in the matter of juggling the time in their global announcement went up. global campaign strategy that early stages diary. That was the main challenge rather At that stage, just before Christmas, they than worrying about the pressure of the had to be shared between I would agree with that in general, but in had a Guardian Guide cover – which was Sound Of… poll. different labels in different this case we knew they had the songs and just unheard of for an act that was not we knew there were multiple singles on markets. Lisa Ward, senior established and who had just signed a record Timing the album off the back of Sound the record. As much as you could be in product manager at Fiction deal. that position and have the fear due to the Of… was fraught with risk: you can’t rush Records, explains how they We had a four-month period – January hype and speculation, there was enough it and equally you can’t leave it too long were handled in the UK and until April – where they were in the studio confidence and it was about giving them Generally for a campaign that would be my how both NME and Spotify [finishing and mixing the debut album]. enough breathing space to finish the record. main concern, but it was a matter of knowing used the band to test out new It was all co-produced by them and they It was a bit of a waiting game but it was also they could make the record. It was an digital initiatives. wanted to be there through the whole good knowing that everyone had confidence ongoing conversation with marketing talking thing. That was really challenging – having a in them to deliver. to A&R, to management and to the band and campaign that was already up and running As soon as we had the finished record and then everyone judging it as we went along. with all the Sound Poll and hype but without could plan in the promo time, it was just a It definitely came down to the wire in terms a record finished as yet. Issue 103 | 26th February 2014 | Page 9 continued…
of making sure we had everything ready in ended up having the Heaven and Koko [30th message and we wanted it to feel it was from Spotify came on as a promotions and time; but, from a marketing point of view, May] shows being back-to-back as opposed the girls. After I suggested the idea, they marketing partner to debut its Spotlight that happens on almost every campaign. to two months apart. When it happened, it went off, found all the pictures and posted feature was even more exciting as it was the hottest one every day until the album release. Even You can plan the best timeline in the world, The biggest campaign partnership that we ticket [in town]. The early tastemaker fans though I still had that marketing message but everything moves when the band need had was the Global Spotlight campaign with really felt they had ownership of the band, going across that the album was coming, it an extra few days here, when they want to Spotify. They were the first breaking act which gave them a really good platform to was delivered very much in their style that finish a track or just before you go to radio that they worked with and it was also their build from. they were happy with, and which their fans you want to change a mix. They were based first fully global campaign. That was tricky were used to and so would engage with. in LA during that period so there was the Glastonbury was a huge moment for to negotiate because of the different labels Otherwise they really do run everything time difference [with the UK], meaning it was us. They played four times in two days – themselves. a bit of a challenge. But everybody had a lot including with Primal Scream. They were of belief in it. running around the festival site with their We launched a global campaign for them famous fans and friends. It felt like a real – which doesn’t happen as much as it used Regular bursts of activity were needed to moment in the campaign and we planned a to. Normally you’d break out of one market fill the nine-month gap until the album lot around that. and then go to the next and then the next. was released We launched a fully global campaign where Coordinating a global strategy can be everything has to happen in every territory The single we went with after Christmas was thorny with so many stakeholders at the same time. It was definitely a challenge ‘Falling’ and we didn’t have too much time as it meant everybody had limited time with They are signed to Sony in America, with them. The promo trips in general have the girls. For NME, the currency of having Universal Germany domestic repertoire and been in and out jobs. They rescheduled some a cover interview [and offering paid access Fiction/Polydor in the UK. We are all joint live dates to make sure they had enough to extra online content around the feature] repertoire owners and it is very much a joint time in the studio to get everything 100% meant that for the fans it was probably the effort. It’s more about supporting them and wrapped up. What we didn’t want to do was most insight they had for band from an everyone trying to come up with ideas that pull them out of the studio, do the live dates editorial point of view for a while. That was they can feel comfortable with. In the album and put them back in. When an act is in and the thinking behind it. out of the studio, it is difficult to focus. countdown period, they were in the UK for three and a half weeks doing promotion and From a marketing point of view, that wasn’t They flew in and out for a Later… With Jools going in and out of Europe. something that I drove. NME had been Holland TV performance and a few other really championing them for over a year so We were able to help them do a photo bits and pieces, but the other live shows they were using that [the premium feature countdown on Facebook [of pictures a were rescheduled. The show at Heaven [in content] as a test point for their paywall photographer friend of the band had built London] was rescheduled [28th May] so we business. up]. We didn’t want it to feel like a sales Issue 103 | 26th February 2014 | Page 10 continued…
around the world. Spotify’s marketing and too much access to the girls it was quite a Their social media has to be digital team in the UK drove this, but it was big deal to give all of that to Spotify. They driven entirely by the band massively supported in the US too. supported us with advertising and above the members line spend in the UK for the first time – i.e. For every idea, because it was global, you From a digital point of view, Spotify was spending its own money pushing have to make sure it works for all territories. their social media is all about a ‘follow’ campaign as well as Haim being a It involves a lot of backwards and forwards their personalities. It is all done Spotlight artist. and niggly things, but it meant that when it by them. They are the ones worked, the impact was huge and you really It was just as they were introducing the idea writing the copy and picking felt it. Sometimes you come up with a great of following artist profiles and that meant the photos. The mood and the idea that works in one territory but doesn’t obviously populating that profile information, personalities we managed to spread outside of that. So it was really fun to content and playlists for the fans to make it get across in everything really feel [that global success]. work. We also shot a bespoke TV ad for them. reflected where we were at They were very accommodating and artist- We had various tracks from the band going in the campaign. It felt really sensitive to make sure that the creative really up exclusively and because we didn’t have exciting and people still wanted fitted in with the rest of our campaign. to support them. We didn’t get backlash account is run by the band collectively from the Sound Of... poll. Because we had all even though they have their own personal those early fans from before then, there was accounts. Their personalities travel a lot a sense of ownership and it felt real and not further than a sales message and that is something contrived by a record label. worth more in terms of creating engagement with fans. At Halloween they put up a picture There was a lot of debate on how to handle of them their mother had taken when they that because the girls felt very strongly about were kids and that travelled so much further it all. [Bassist] Este won an NME award for the than saying, “Hey, we have a single on the best Twitter account and that is genuinely radio.” It’s things like that where they can how she communicates and how she keeps show their personalities and that they have in touch with her friends when she is on tour. a sense of fun – that they are young and can It’s text, Twitter and Facebook. They really laugh at themselves. felt the integrity of that was really important and that fans would react to that. From a marketing strategy point of view, it was very much a decision to let the girls lead It was a conscious decision that sales that and they will engage with it and it will messages would be really sporadic as always travel further than me pushing a was [the decision] not to have an official sales message. HQ channel; even the official Haim Twitter Issue 103 | 26th February 2014 | Page 11 MUSIC CHARTS Post-Brits 2014 impact for performing artists All data is taken from Musicmetric: www.musicmetric.com
Arctic Monkeys Disclosure Arctic Monkeys fell from position 272 to 318 in the Fan Chart, being overtaken Disclosure fell from position 499 to 545 in the Fan Chart, being overtaken by by Roberto Carlos. Crystal Castles.
Katy Perry Ellie Goulding Katy Perry fell from position 3 to 9 in the Fan Chart, being overtaken by Miley Over the last week ‘Burn’ became the most played of all Ellie Goulding’s tracks Cyrus, Selena Gomez and Lorde. on SoundCloud, overtaking ‘Life Round Here’ (feat. Angel Haze) (having on average 46.2k plays a day).
Bruno Mars Rudimental Over the last week, Facebook became Bruno Mars’s most active social network for fans, overtaking YouTube and Twitter (adding on average 58.8k fans a day). Rudimental moved up from position 770 to 717 in the Fan Chart, overtaking 2PM, Djr3hab and Bassjackers.
Beyoncé Beyoncé fell from position 25 to 31 in the Fan Chart. Bastille Over the last week, SoundCloud became Bastille’s most active social network for fans, overtaking Facebook (adding on average 5.6k fans a day).
Lorde Lorde moved up from position 21 to 6 in the Fan Chart, overtaking Taylor Swift, Pharrell Williams Marc Anthony and Katy Perry. Pharrell Williams moved up from position 86 to 84 in the Fan Chart. Last week Facebook became Lorde’s largest fanbase on social networks, overtaking SoundCloud (2.4m total fans). Sandbox is published by Music Ally. Music Ally is a music business DIGITAL MARKETING SERVICES Contact Music Ally: information and strategy company. We focus on the change taking place 22 Peters Lane in the industry and provide information and insight into every aspect Campaign support services: London of the business: consumer research analysing the changing behaviour • Strategy EC1M 6DS and trends in the industry, consultancy services to companies ranging • CRM and Email tools Tel: +44 (0)20 7253 7600 from blue chip retailers and telecoms companies to start-ups; and • Digital housekeeping www.MusicAlly.com training around methods to digitally market your artists and maximise • Social networking updates [email protected] the effectiveness of digital campaigns as well as events. We are now • Search and online advertising Registered company number: 04525243 also offering digital marketing services to labels, artist managers, artists • Mobile applications VAT number: 858212321 and other music related companies from campaign advice and strategy through to implementation and execution. • Blogs and online PR outreach • Measuring campaign effectiveness Clients include: Contact Karim - [email protected] or +44 (0)20 72537600 Apple, BBC, EMI, MTV, O2, Orange, Sony BMG, Tesco, to discuss your digital marketing needs. Universal Music, Vodafone, Warner Music, Roadrunner Records, © Music Ally Ltd. For the purposes of personal, private Just Music and Connected Artists use the subscriber may print this publication or move Training services: it to a storage medium; however, this publication is If you have a digital campaign related story for SandBox, intended for subscribers only and as such may not • In house company mentoring be redistributed without permission. Subscribers please contact [email protected] • Workshops agree to terms and conditions set up on the Music Ally website, except where a separate contract takes • Digital briefings precedence. Music Ally has taken all reasonable If you’d like to talk to us about our digital marketing/mentoring • Digital MOT sessions endeavours to ensure the validity of all items reported training services, consultancy or specific research services, within this document. We do not assume, and hereby please contact Karim Fanous [email protected] Music Ally has delivered digital marketing training sessions for a disclaim, any liability for loss or damage caused by wide range of clients including Universal Music, EMI, AIM/London errors or omissions. In particular the content is not intended to be relied upon in making (or refraining Connected and many individuals If you’d like to subscribe, add new subscribers, or talk about from making) investments or other decisions. We cannot be held responsible for the contents of any a corporate deal please contact [email protected] Check out Music Ally’s digital marketing courses here linked sites.
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