|I found myself talking to a brand marketer today, who proudly told me that he was “doing things in the music business”…After asking some basic questions, I discovered that what he meant by this statement was that he had simply instructed his advertising agency to use some commercial music in a series of forthcoming ads…|
Having run through what I’d considered simple questions about the choice of genre, artists, songs, lyrical content, pace of the songs etc. – simply trying to understand the thinking and what plans there were around the campaign in terms of activation and amplification – I realised I was opening up a can of worms.
I continued in my search for answers and asked whether there were any plans to work further with the artists, any plans for live activation, special releases or any social media support in the pipeline etc., I was met by a barrage of apologetic excuses and an explanation that his advertising agency were running the campaign and just focused on the TV ad. A wasted opportunity, for sure.
After asking myself who is the custodian of the brand (client or agency?), I proceeded to probe further in an attempt to understand the process this marketer had experienced in greater detail. To no surprise at all I discovered (and this involved the marketer digging into some emails from his agency) that in fact the music had been chosen by what appears to be a junior creative, who I would imagine had no connection with the audience the campaign was aimed at. My guess is that the choice of music was simply down to personal taste (of the creative) and, in fact, I would argue that what was chosen was probably not the right music nor genre for the demographic being targeted.
I was asked what I would expect to pay for the particular track which was used. The amount of money spent on the music appeared to be above market rate, meaning the ROI is likely to therefore be low (because of all the above) – all bad news, not just for the marketer, but actually for a music industry keen to attract brand investment in the future.
To get to my point, using music should be approached in the same way as any ‘properly’ strategically led campaign. I would always suggest (as a bare minimum) where possible to use insight to help plan before applying any creative thinking around the music. Then consider amplification (i.e. what can be done around the asset beyond just usage in a TV campaign) and be smart with the purchasing of the music, making sure you get ALL of the rights you need at the best possible price (which might not necessarily be what you are told it is going to cost). There are a few independent professionals out there specialising in music procurement.
The contact I met today didn’t only get his choice of music wrong for his audience, but is aiming at an audience who are not major consumers of TV. The budget spent on production and media could have enabled his brand to put on a really impactful live event (concert), which would have been shared by his own consumers, with additional amplification via online channels that his audience interact with daily (whether Snapchat, Facebook Live, YouTube, Spotify etc.).
To conclude: music strategies are not just about syncing music for TV advertising. There is so much more that can be done which is more engaging, has higher impact and enables marketers to track and measure ROI.
On top of this, do not assume an advertising agency can put together a music-based strategy for you. This is often not their forte (of course, there are a few exceptions to the rule).
The above may be basic to some but clearly not to some. There are so many opportunities for brands to innovate in the music space (i.e. beyond making yet another TV ad). Do get in touch if you are a marketer uncertain of how to break the mould. It’s not difficult working with the right team…
|Arguably sport always has been, and always will be, associated with stars. Sportspeople of incredible athletic ability make the impossible appear effortless, creating moments of magic that give fans the chance to utter the phrase “I was there”. For an athlete to be held in this rarefied bracket of superstars can bring global fame and vast financial reward, but also a burden of expectation not just from their own fans, but the sports they bestride.|
The Next Stage
An athlete who must surely now be considered within this group is Wimbledon Champion Andy Murray. Three years since his first win, Murray once again captured the title that he covets most, placing him alongside esteemed double Wimbledon winners such as Stefan Edberg and Rafael Nadal. The win also topped off an incredible year for Murray. Marriage to his long-term girlfriend, guiding Great Britain to a Davis Cup win and becoming a father has brought about a slow but noticeable transformation of brand Murray. His growing maturity matched with a change in perception among even the most casual of tennis fans offers him the perfect opportunity to take his brand even further as he moves into the next stage of his career.
According to London School of Marketing’s 2015 sport power list, Murray ranked in 16th place. Not bad, but when considered alongside his fellow male players, Rafael Nadal (8th) Novak Djokovic (7th) and Roger Federer (1st), there appears to be some room left to grow. Federer’s continued brilliance away from the court is in contrast to his slowly diminishing powers on it. Without a Grand Slam win for four years, Federer’s ‘RF’ brand remains worn by more than just a few of the paying crowd on centre court. His ability to show a side of his personality that resonates with sponsors without a link to the court has helped prolong his marketability and it’s a path that Murray has already started to tread.
Although he counts Under Armour and Head as his on-court equipment partners, Murray’s partnership with Standard Life represents a deal that looks to work with some of the less athletic aspects of Murray’s character and is undoubtedly contributing to a better understanding of the man behind the racket. Yet it’s imperative that the partnership works both ways, with a set of shared traits that can be projected to a targeted audience for the benefit of both sponsor and athlete.
|Careful cultivation of these traits can truly transform reputations and Standard Life’s Master Your Dreams film series is a perfect example of the process at work. The films explore a side of Andy Murray that isn’t well-known, helping the audience to see a new thread in the Murray story and one that Standard Life applies to its own organisation. From the meticulous preparations of Andy’s childhood, to meeting his own sporting heroes, viewers have shown a willingness to engage with the films, sharing their changing perceptions and even thanking Standard Life for providing the opportunity for them do so.|
|Standard Life’s willingness to look beyond the common narrative and work with a different side of brand Murray not only helps them stand out from the crowd but supports their own story, not something every sponsorship or indeed athlete, has the ability to do. The challenge therefore is two-fold, first to identify an athlete whose own brand, ambitions and athletic performance complements that of a sponsor and secondly (and far more challenging) is to select the the correct aspect of an athlete’s story to tell.|
Executed properly the rewards are clear for all to see, both on and off the court.
|A few years ago, we witnessed the start of some major changes in the music industry, with traditional revenues from record sales taking a big blow due to an increase in piracy. This coincided with the general public’s perceived value of music diminishing with the record labels continuing to exploit their assets with very short term targets in mind, licensing music for the likes of cover-mounts to the media industry, earning income, spiking sales for newspapers and magazines but further reducing the consumer’s perception around the value of music (which was ultimately being offered to them for free).|
Some high profile artists benefited from this at the time, including the likes of Prince who released his ‘Planet Earth’ album exclusively via The Mail on Sunday. This earned Prince substantial revenues. It provided marketing for his 21-night performance at The O2, London and sold a lot of newspapers, so many would argue was a big success. It did, however, contribute towards the longer-term psychological perception amongst the consumer that music has been devalued.
|It was at this point that I started to understand the fact that it was the job of both artists and the labels surrounding them to start re-thinking about how to add value back to the album format and demonstrate a reason for the consumer to continue purchasing in the future. It feels natural for artists and their labels to start packaging all of their assets into one deliverable (an app) with the aim of connecting with their fans on a deeper level, owning a bigger part of the relationship with them. The depth of relationship between artists and fans for me has always been the key to success.The rise of Spotify, followed by the multitude of other streaming businesses then created a distraction, tackled piracy and actually incentivised consumer spend, albeit reduced. The real value in music today, however, is primarily in the live business (concerts), but there are various attempts taking place to breathe life back into music beyond just experiential.|
It seems the subject matter of how artists and their labels should be pumping value back into their product is heating up. Clearly, deepening the relationship with their fans seems to be becoming more understood amongst artists, with a number of technology players now moving into this space. Until now there has been little focus in the media about this, with most still focused on the battle of the streaming businesses (Spotify, Apple, Google, Deezer, Amazon etc).
If a fan wants to know what Beyoncé wore last night, they check Instagram. If a fan wants to know where Ed Sheeran is performing next, they check Twitter (as long as he’s not decided to take a ‘time out’). If a fan wants to know what Ariana Grande has been up to today, they are likely to watch her Snapchat story. Social Media has brought artists and fans closer together than ever before. It has solidified the artist and fan relationship, offering access never previously seen before. These relationships via social networks offer the ability for artists (and their partners) to promote themselves, sell music, tickets and merchandise. It also provides instant feedback whether it be about newly released music or any other promotional activities. Importantly, it is this relationship, combined with artist-generated content (music, film, games, etc) that can be extremely attractive and powerful.
When Björk launched ‘Biophilia’ a few years ago, she offered her fans an entire suite of content – much more than just music. She successfully continued to build that ever-so-important connection with her fans, giving them much more than they expected, with lots to talk about and engage with.
|Since then, a number of artists have attempted to enter this space. A few businesses from the tech world have also moved into the ‘Artist & Fan’ relationship space – their approach being to enhance the overall fan experience, whilst providing insight and learnings about their fans back to the artists and their representatives.|
These start-ups include the likes of: Gigrev, Lionshare Media and Disciple Media. BuddyBounce was another great business very much in this space, recently selling to Crowdmix which was due for launch later this year but unfortunately went into administration earlier this month, prior to its official launch. Additionally, Supapass is a new multi-artist platform that has recently come onto the scene, offering not just single artist relationships but the opportunity for fans to engage with a multitude of their favourite artists. An interesting one to watch…
|The idea is that fans subscribe to an artist/label channel (costing approx £1 per month). The artists and their rightsholders then earn a substantial % of the revenue share from their fan subscriptions. One generally finds with fan-based marketing that there is always a top-tier core fan who will traditionally spend on artist product and this will specifically appeal to those. By offering multi-artist content, SupaPass are spreading the risk and potentially offering greater impact for the platform. It feels like it makes sense.|
It is these artist-to-consumer platforms that will not only ensure continued growth and depth of relationship between artists and their fans, but could also potentially offer a very interesting space for brands to engage. According to the Cassandra Report, Millennials, in particular, expect brands to offer more than just their product or service, and if a brand can be seen to be offering a closer relationship between fans and an artist, the credibility and love for that brand could very easily dramatically improve. Additionally, the learnings and data available could really help not only the artist, but also brands, understand how to interact and behave with these fans, potentially offering a three-way win-win(-win) symbiotic relationship for band, brand and fan.
To conclude, the music industry is continuing to change rapidly. There are no rules and an array of interesting opportunities for brands (as well as artists) to tap into, offering previously impossible access to potentially long-term relationships with fans. The ‘Artist & Fan’ relationship is the ‘Holy Grail’ within the music industry. For a brand to be a critical part of that could be an extremely powerful space to occupy.