sandbox 05-06 Tools Radium One 07-08 Campaigns Kasabian, CNBLUE,

Madonna, Tic Tacs 09-11 Behind The Campaign Anitta

DIGITAL MUSIC’S FUNDING REVOLUTION

PATRON SAINTS

MUSIC MARKETING FOR THE DIGITAL ERA FEBRUARY 11 2015ISSUE 126

2 | sandbox | ISSUE 126 | 11.02.15

COVERFEATURE

Alternative funding models for artists have been growing since the last century, but in the last few years they have reached a fascinating point of maturity. Patreon and Drip.fm blur the lines between crowd-funding and fanclub, changing the release calendar and waving the flag for exclusives. Now the major labels are tentatively entering this space; but wider moves by YouTube in regards to how artists sign up as partners could blow a hole through this market. We speak to those deeply involved here about what could happen next and how everyone should be preparing themselves.

The Medici family and Pope Julius

are, in all likelihood, names rarely

discussed around the digital music marketing table.

That could be about to change, however, because the last

two years have seen a sharp rise

in Medici-style patronage in digital

music, led by the logically titled Patreon,

a website that blends Pledge Music-esque

support for artists with a subscription model, allowing

fans to back musicians and other artists to create a stream of smaller works, rather than one big project.

Initially, Patreon was centred on video, with patrons pledging a fee for each video an artist created. But is has since expanded to allow patrons to pledge for the rather more vague “new piece of work”, with creators following one of two models, according to the company’s “manager of community

PATRON SAINTSDIGITAL MUSIC’S FUNDING REVOLUTION

happiness”, Anthony Privitelli.“Some creators post every day, every

week or at least have a schedule of posting,” he explains. “Most of those types of creators use the ‘monthly’ campaign where patrons will be charged one time at the end of every month.”

He adds, “The other campaign is ‘per creation’. This allows the freedom for the creator not to worry about releasing anything since their patrons will only get charged if they do release something new.”

Kina Grannis , who had 337 backers on Patreon at time of writing, says that the charm of the platform lies in its flexibility. “ I’ve been doing videos every Monday for the last year and a half, so I kind of fit it to work with my schedule ,” she says. “The beauty of Patreon is that it’s flexible like that. If you want to make one video/painting/comic a year, there’s no reason you can’t do it that way.”

Drip it like it’s hot: Drip.fm, labels and community subs

Sporting a similar line in what we might call the personal subscription business is Drip.fm , billed as “a network of the world’s best creators and their biggest fans”, where consumers can subscribe to individual labels and artists to receive monthly rewards. The two services share similar ideas about community and ongoing patronage, but Drip.fm was initially more centred on labels whereas Patreon has always been concentrated on the individual artist. (Drip.fm now features both labels and individuals, however.) The two services also differ slightly in what they offer patrons.

Backers on Patreon may be rewarded for their money in various tangible ways (MP3s, gifts, private concerts etc.). But the emphasis is firmly on the “warm fuzzy feeling that accompanies believing in someone enough to become a patron”, according to the

company’s website. Many Patreon acts, as a result, offer backers thanks in their videos, personal Skype calls and so on.

“There isn’t a secret recipe for ‘type of content’ that works best on Patreon,” says Privitelli. “We see it every day that the only ingredient you need is a loyal community; a community that finds true value in your work.”

This feeling of community helps to explain why backers on Patreon support artists for the long term, according to singer/songwriter Julia Westlin , who had 82 patrons on the service at time of writing. “To support long term, you feel a part of something ongoing, to have something to look forward to,” she says. “I think this is what most of the supporters want. We all want to feel a part of what we believe in.”

There is also, she adds, a financial logic to pledging per month. “Everyone has different economies and for most people it’s more possible and logical to portion out the donation than to give a certain amount in one shot,” she says.

In the case of Drip.fm, the rewards for subscribing are generally more substantial

COVERFEATURE

3 | sandbox | ISSUE 126 | 11.02.15

than with Patreon – subscribing to a label’s Drip will typically give you all their new releases, for example – but the language Drip uses still has echoes of Patreon’s focus on patronage. Drip claims on its website that fans subscribe to “directly support creators they love”, while the company’s CEO and co-founder Sam Valenti talks of “a relationship that is different than a traditional purchasing experience”.

“We’ve seen some wild examples of updates, including in-person meet ups, live video hangouts, physical giveaways, unreleased tracks and stems for remixing,” he adds. “Christopher Willits [an American musician and multimedia artist, who has a personal Drip] offered his fans the ability to hold screenings for his new film to members, which resulted in events on both coasts of the US and as far as Tokyo, Barcelona and Bucharest.”

Indies have long seen the benefi ts…

Both Drip.fm and Patreon have enjoyed some notable early successes: Drip’s label clients include renowned indie labels like Domino, Ninja Tune and Sub Pop , while Patreon announced in November that it was now paying out $1m a month to creators, a milestone the company said “confirms a massive cultural shift that we all felt but had trouble describing”.

“The public is demanding to pay creators,” Patreon explained in a blog. “As the cost of consuming digital media drops to zero, the masses are beginning to visualise the peril on the road ahead for creatives, and now they’re doing something about it.”

This might seem a little overenthusiastic: from piracy to general disinterest about streaming rates, there is considerable evidence that the general public doesn’t care that much about paying creators. But Patreon’s success, with more than 125k people becoming patrons in just 18 months, does suggest that some devoted consumers do, at least, want to help their favourite musicians.

… and now the majors are moving tentatively

The question now is how far this personal subscription model can go. RCA-signed a cappella group Pentatonix may be on Patreon – they have 3,085 patrons giving $19K a video – but the vast majority of musicians on the platform are unsigned. Similarly, while Drip.fm does feature some major indie labels in Domino and Sub Pop – as well as cult band They Might Be Giants – there are no major labels or superstar acts.

Whether this could change in the future is an interesting question. Valenti says that Drip is “purely focused on creators who create enthusiastic communities and not beholden any particular size or genre”, while Privitelli says he hopes there are no limits to the Patreon model. But it is hard to imagine a major label inspiring the same kind of blind, buy-everything-it-releases cult devotion that a Drip subscription requires. Superstar acts do, of course, inspire precisely such fidelity; but their existing fan clubs and lucrative meet-and-greet packages make them unlikely candidates to move to Patreon with its 5% fee.

That doesn’t necessarily matter, though: Patreon opens up this fan club

model to artists with fanbases that are smaller – but not necessarily less devoted – than the superstars. And that gives it a vast potential userbase.

Could YouTube’s new T&Cs kill off patronage channels?

The elephant in the room here is YouTube. Patreon was created by Jack Conte of YouTube stars Pomplamoose and has long been portrayed in the media as a better-paying alternative to the video-sharing site. Talking to AllThingsDigital in August 2013, Conte revealed that he had 835 fans backing him on Patreon, generating $6,153 for every video he posted on YouTube; this was a figure he said was about 100 times more than what he would expect to make from the same video with YouTube advertising.

But YouTube actually offers its own

COVERFEATURE

4 | sandbox | ISSUE 126 | 11.02.15

weight around if users don’t behave in the way YouTube would perhaps like.

This, however, is a possible concern for the future, with Privitelli explaining that the team “is solely focused on improving Patreon” rather than worrying about competitors. What’s more, when faced with the blatant ambition and genuine goodwill of a service like Patreon , such worries seem rather nitpicky.

“There should no longer be ‘starving artists’,” Privitelli concludes, contemplating what he sees as the artificial divide between penniless artist and record label artist that Patreon can help to bridge. “If you have 20 fans, that means something.” :)

individual subscription mode, allowing creators who fulfil certain criteria to set up paid channels with monthly subscription fees. The language YouTube used when it launched the feature in May 2013 should also ring bells: the initiative was billed as “new ways to support great content on YouTube”, with the company adding in a blog: “We look forward to seeing how this great community of creators moves ahead with a new way to reach the fan communities that made their channels a hit.”

YouTube, for the moment, doesn’t appear to be aggressively pushing paid channels. Should it choose to, though, the impact on a service like Patreon could be profound, especially considering the importance of YouTube to most Patreon clients. As the experience of Zoë Keating has shown us, YouTube – or at least some of its employees – is not afraid of throwing its

JULIA WESTLIN ON WHAT WORKS ON PATREON

From my own experience and from what I have seen on Patreon, the ones who have great success put a lot of work into what they do. People see talent when it is expressed in a unique way. I know, for example, that most of the people who support me do so because of the fact that I do everything by myself. I started out from scratch and they enjoy seeing the evolution as I grow and progress in my fi eld.

5 | sandbox | ISSUE 126 | 11.02.15

TOOLS RADIUM ONE

and a series of numbers so that too can be tracked. Because of this new ability to track dark social sharing, it is worth leaving po.st URLs in a Facebook post (rather than deleting them once the preview loads) if you have no control over the third-party destination to influence that URL being shared.

RadiumOne is also utilising dynamic pixels for email marketing. Dynamic pixels have the ability to be embedded in an email to track users who open emails and click through; but they can also be enriched with any variable or parameter that is provided by the CRM platform. In other words, if a CRM system had the ability to segment their userbase into frequent buyers of different categories; this type of information could be embedded into the dynamic pixel and could be overlaid onto the information about CTR and so on.

As advertising budgets continue to lean further towards digital, it can be difficult to know which of the multitude of advertising platforms to focus on. RadiumOne, a global programmatic ad-buying company, allows advertisers to focus on tracking and targeting the right fans across platforms and devices – and all in real time, with a message that makes sense for their level of engagement. Sandbox spoke to Charlie Baillie, head of commercial at the company, to understand how it all works.

RadiumOne is headquartered in San Francisco, but has had offices in the UK for the past four years and currently has offices across North America, Europe and Asia. It specialises in giving advertisers a holistic view of fans that allows them to segment and reach them in real time. Currently RadiumOne tracks 48m unique users across the UK and 900m globally for its clients by using several tools it has built.

Tracking in this case means dropping a cookie in a user’s browser in a variety of ways. These cookies can then be used to track a user until they delete their cookies. Advertisers should be aware that, although this works well on desktop and on Android phones, inserting cookies is not possible on iOS devices (as Apple does not allow this). To get around this, RadiumOne can build pixels into a software development kit so that, if an advertiser has access to an app (either an artist app or promoter app), they can cookie them through this method on iOS and track their interaction within the app.

The first tool to tag a user with a cookie is the po.st URL shortener. It works like your usual shortener (bit.ly, goo.gl, tinyURL etc.) but has a built-in cookie that is triggered when anyone clicks on a link. This is a huge advantage versus only placing cookies on the devices of the people who visit your website, especially for music where most of the action happens on social media. And for this reason 500 artists already use this globally for things such as sharing their new music video.

The second tool is a set of share-style buttons that users can click to push content out across social media or email. The buttons look atheistically the same as normal share buttons but have a pixel embedded so that you can both track people visiting the site as well as any share action that ensues. It helps to understand the flow of activity when things go viral.

The third tool was just recently created to address a very interesting finding from a whitepaper that RadiumOne published. From digging into the 900m users it tracks, the paper found that dark social sharing – that is sharing via email, Facebook messenger or other messaging apps – made up 69% of all sharing on the web worldwide (74% in the UK). This type of activity, until now, has not been traceable by normal analytics platforms.

To address this, two new po.st tools were created. First, if anyone copies any part of text from an artist website and pastes it into an email, it will automatically add a referral URL (i.e. some text saying “For more info, click here”).

This makes that dark post traceable. Similarly, if anyone copies a URL with po.st on it and shares it via a messenger, the URL will automatically add a hashtag

Worldwide

Facebook shares

Dark social shares

All other social shares

69%

23%

8%

NorthAmerica

Facebook shares

Dark social shares

All other social shares

59%

31%

10%

Europe

Facebook shares

Dark social shares

All other social shares

77%

16%

7%

Australia

Facebook shares

Dark social shares

All other social shares

75%

21%

4%

Source: Radium One

6 | sandbox | ISSUE 126 | 11.02.15

TOOLS RADIUM ONE contd.

grow their audience and convert their customers into premium users; but also to use the data created around the platforms users to make marketing campaigns more relevant for artists and labels.

Lastly, where is the price? All of RadiumOne’s targeting tools, insights and analytics are free. They charge if an advertiser wants to use this data to activate it with a paid campaign. The advertiser can agree on a budget for a desired outcome and RadiumOne would then provide them with a CPM for their specific KPI. They then run the campaign for the artist or label to optimise their spend. :)

These four tools give advertisers, labels, managers and artist access to real in-depth data to understand the frequency, the recentness and the type of content that is being shared or being interacted with so they can understand their fans and their social connection. They can use this data to segment fans who interact with their content into casual fans (up to three interactions) and superfans (+10 interactions) and thus create different marketing messages that are more suited to each unique group.

RadiumOne is also looking into working more with D2C platforms and ticket websites where conversion tracking is

immediate (as conversion pixels can be placed on checkout pages) to show immediate ROI on marketing campaigns. Affiliate codes can also be used to calculate ROI on campaigns with the likes of iTunes, but they tend to be less granular and take longer to attain.

All of this information can be used to provide analytics that help create transparency both around ROI and what users do across the web – what they are likely to share, which type of sites they tend to visit and so on. Plus, of course, the usual demographic, locations and device data you would expect.

It is also important to note that, unlike

the majority of link shortener providers, RadiumOne does not sell or utilise advertisers’ user data with any of its other advertiser clients.

RadiumOne is also working on two new initiatives: 1) a self-serve platform (out later this Q) for people who want to create their own segment and drill into what their super fans are doing in real time; 2) a platform to help artists and labels work better with brands. The aim is to bring incremental value by using the information provided about your fanbase to create richer brand activation and content.

It is also working with a streaming service on two fronts. Firstly, to help them

Style & FashionEducation

Real EstateNews

Careers

SportsHome & Garden

Personal FinanceScience

Religion/SpiritualityHealth & Fitness

Food & Drink

ShoppingTravel

Family/ParentingTech/Computing

SocietyLaw, Gov & Politics

Automotive

Hobbies/InterestsPets

Style & FashionEducation

Real Estate

CareersArts/Entertainment

NewsTravel

ShoppingSports

BusinessPersonal Finance

Food & Drink

Home & GardenReligion/Spirituality

AutomotiveTech/Computing

Health & FitnessSociety

Law, Gov & Politics

Hobbies/InterestsFamily/Parenting

Style & Fashion

EducationReal Estate

News

CareersSports

Home & Garden

Personal FinanceScience

Religion/Spirituality

Health & Fitness

Food & Drink

Shopping

Travel

Family/Parenting

Tech/Computing

Society

Law, Gov & Politics

Automotive

Hobbies/Interests

Pets

Pets

Science

Business

Arts/Entertainment

280

229194188

184174172

262

158155

144139135124121116112111111105

63

176167

147135130

105999594898684848176676657

49

302255

236196191

169152

12812612612511610710592918178

75

192184

4734

6541

389385

VIEW SHARE CLICKBACK

Source: Radium One

7 | SANDBOX | ISSUE XX | DATE XXXX7 | sandbox | ISSUE 126 | 11.02.15

The latest projects from the digital marketing arena CAMPAIGNSAfter a few false starts in recent years, it appears that virtual reality (VR) has been growing some (virtual) legs in the past few months.

Kasabian and their label, Columbia Records, are partnering with Visualise and O2 Academy to create a 360-degree experience of their live show so that fans can experience being on the stage with the band.

Kasabian’s show at the O2 Academy in London was filmed in a way that saw the video being built in HTML5, which allows users to watch the video whether it’s on mobile, tablet or web. The video is also available via the Samsung Gear VR headset – which is a collaboration between Oculus Rift and Samsung.

The headset is, however, only available to buy in the US, with a UK launch expected soon. Coldplay also turned one of their gigs into a VR experience with the Samsung headset in December.

Sandbox covered the surge of VR back in November when several artists, including

Taylor Swift and The Who, got into the game. Since then both Paul McCartney and Jack White have worked with VR through startup Jaunt, which went with the Google cardboard headset as an affordable option to the rather more expensive Oculus Rift and Samsung Gear VR headset.

VR seems to be growing as the default way for musicians to show themselves as being at the cutting-edge of music technology and these technical advances will most likely continue throughout the year – even though VR experiences are yet to reach the masses, primarily because they are currently scarce and costly.

South Korean pop-rock band CNBLUE (or Code Name Blue) have launched a competition for their latest video, ‘One Fine Day’.

The band have asked fans to take screenshots of their favourite moment of the video to be able to win various prizes, including Polaroid photos and ‘One Fine Day’-related products. To enter the competition, fans must post a screenshot to @FANCLUB on Twitter with the hashtags and and then post the URL of the Twitter post in the comments section of the original Facebook post.

For a better chance to win, the users could also comment on why that specific caption is their favourite from the video. Two winners with the best captures of the video were chosen on 9th February.

The fact that the campaign has only had 275 entrants is disappointing, given that CNBLUE are signed to FNC Entertainment, one of the bigger labels in South Korea. The campaign itself was somewhat complicated but, at the same time, in South Korea it is generally very difficult to get the hundreds of thousands of entries one might come to expect in the West.

Yet CNBLUE’s song ‘Can’t Stop’ was, according to Mashable, the 17th most tweeted about song of 2014 and they’re amongst the most popular South Korean bands on Twitter. The campaign effectively makes use of Facebook and Twitter simultaneously. Furthermore, the competition cleverly harnesses the momentum around a product (in this case the video) that would have been produced anyway, as well as most likely helping to bump up video views on YouTube.

CNBLUE WANT TO KNOW WHICH PART OF THEIR MUSIC VIDEO IS THE BEST

KASABIAN JUMP ON THE VR TRAIN

8 | sandbox | ISSUE 126 | 11.02.15

The latest projects from the digital marketing arena CAMPAIGNS

Madonna premiered the video for her latest single, ‘Living For Love’, on Snapchat’s new Discover feature last Thursday. The video debuted specifically on Snapchat’s own curated channel – lasting for 24 hours – much like the Story features do on Discover.

Discover is Snapchat’s latest addition after introducing Snapcash in the US a few months ago. The feature launched two weeks ago and includes curated content from various partner channels such as MTV, Vice and Warner Music (US-only). It’s one of several ways that the messaging app is introducing monetisation to its platform. Last year,

Snapchat introduced its first sponsored post, premiering the Ouija movie trailer.

Madonna’s album campaign has run into several obstacles in its earliest days, seeing the rush-release of the first half of her album back in December because of leaks; but the use of Snapchat explains perhaps the need to reach a younger demographic. Snapchat is currently valued at $10m and is rumoured to have a

‘millennials’ userbase of 100m. It’s a big deal for the messaging app

having Madonna as the first artist to premiere a music video on Snapchat’s own channel. It will be exciting to see how features will continue to develop and how these can be of importance for music in the following year.

She has also just partnered with Grindr, a slightly different type of messaging app and one that is arguably a neater fit with a key section of her fanbase. The competition requires fans to recreate her Rebel Heart album cover and five winners will get to chat to her on the app on Valentine’s Day.

Tic Tac – yes, the mints brand – in Indonesia has teamed up with famous fashion bloggers, musicians and entrepreneurs to launch Tic Tac Design Your Pack competition.

The contest allows users to design their own Tic Tac packs for a chance to win various prizes, with the grand winner getting a trip to Melbourne for two. Endah N Rhesa, a pop-folk group in the country, are part of the campaign and have created their own specific Tic Tac design, which they talk about in a video launched on Tic Tac Indonesia’s YouTube channel. Also part of the campaign is one of Indonesian’s most popular fashion bloggers, Diana Rikasari.

Tic Tac has launched a dedicated Facebook tab (a Tic Tac Tab?) where users can enter the competition for a chance to win, as well as the trip to Melbourne, an iPad Mini or a Diana F+ camera. Users can

either download a template to create their design or start directly within the Facebook app. From 18th February to 3rd March, people will then be able to vote for the 50 shortlisted entries.

Tic Tac has run similar campaigns in the UK and Germany during the past year as well as having an on-going campaign in Singapore where people can now vote for the 50 shortlisted nominees. At the time of writing (10th February), the leading design has had 567 votes. For creative artists with a heavy emphasis on the visual, these types of campaigns can prove successful

if their demographics fit well with the partnering brand or if it enables them to talk to new artistic audiences.

TIC TAC PACKS GET HACKED AND STACKED IN INDONESIAMADONNA RELEASES HER VIDEO ON SNAPCHAT

9 | SANDBOX | ISSUE XX | DATE XXXX

MAINFEATURE

BEHIND THE CAMPAIGN ANITTA

10 | sandbox | ISSUE 126 | 11.02.15

you have a singer performing in English and singing for the entire world.

Digital was her natural home… At the time we signed her, she was 18 and was totally immersed in the digital world. We developed an entire campaign using all the digital partners and all the digital tools we could. We were releasing new video clips every three months and we work with her fanbase very closely.

… but traditional media and branding are still powerfulThe results for the other singles that we released from the same album were all big hits. For the past three years, Anitta has been in the top three of the big Brazilian radio stations every week. There was huge TV interest in her and we put some of her songs in soap operas. Soaps continue to be very important in the Brazilian market. When you get a song in one of the soap operas, you always have an incredible result.

We also had campaigns with Wella shampoo and another campaign with Olla condoms as well as the Guanabara supermarket chain. In these campaigns they used both her music and her image.

Discovery on YouTube and the emergence of funk cariocaI found Anitta almost four years ago on the internet. At that stage she had already achieved some results in specific parts of the country – notably Rio de Janeiro and São Paolo – in a genre known here as funk carioca. Three years ago, it started to become important outside of these specific places in Brazil.

I was working in Mexico for Warner Music and came back to Brazil and felt that we should have some artists within this movement. I found her online and she was already ahead of the other artists [in the scene]. We signed her and had a great result with her first album, Anitta.

The first single we released for her was ‘Meiga e Abusada’ and we saw some good results; but the smash hit was ‘Show das Poderosas’. It caught everyone by surprise and was an unbelievable success in the country. With that song she had one of the biggest hits on YouTube in Brazil ever. We have over 100m views [for the official video and the lyric video combined], which, for us, is an incredible achievement. You have to keep in mind that this is just in Brazil. It is different if

Anitta is one of the biggest new artists to emerge in Brazil, coming out of the funk carioca scene and releasing her debut album in 2013. With two successful albums domestically, she is being prepared for international crossover. SERGIO AFFONSO, president of Warner Music Brazil, explains how she was discovered on YouTube, why she represents a new type of artist in the country whose natural home is online, why traditional media is still a powerful marketing channel and how she has created a template for other new artists to follow

BEHIND THE CAMPAIGNANITTA

11 | sandbox | ISSUE 126 | 11.02.15

Physical format sales are still strong in BrazilIn the middle of this, we did a DVD [No Meu Lugar]. At that time, the DVD market in Brazil was very strong. Nowadays it is not so strong. The DVD we prepared was, for the market, very ambitious as it was very expensive. We had to work with sponsors [to help pay for it]. We recorded the DVD at a concert in front of 10,000 people. We released it as a package with a DVD and a CD [Ritmo Perfeito].

For her first album [Anitta], we have around 160,000 physical units sold and for the DVD/CD release we are almost at the same point.

Preparing for other marketsSince September, we have been trying to find windows for her career outside of Brazil. We are starting to work in the US, Portugal and Spain in particular. Anglo markets are always a big challenge for any artist who was not born in the US or the UK. We are trying to find songs, we are contacting writers and working on many ideas. Her diary is full in Brazil at the minute so we will return to this plan in April.

She speaks good English but she is having classes as she has to be able to speak as a native. It’s not just about the singing as she will also have to be interviewed too. At the moment we are finding good writers to work with her. We started in the US and some people from our publishing arm are working with us. The plan is, maybe later this year, to release something in the US and other English-language markets.

Using the lessons learned here to help break other acts online

Brazilians are heavy users of all channels – but mainly YouTube. It is a very important way to see what people are consuming. We are always on the internet looking for new artists. When you find a new artist on YouTube, you have all the measures to see all the numbers from that channel and see what is happening on that channel.

Anitta uses all the main social channels – Instagram, Twitter, Facebook and so on. When I find an artist on YouTube, I go to all their other social channels to see what is happening with them. If they have a big profile on YouTube and a lot of followers on Instagram, this is also very important. We have to consider everything together.

You can have a good result on YouTube as you have a funny video or a strange video; but if you parallel that with information from other social platforms you have a much richer picture of that artist.

I have changed our roster dramatically over the past three years. We are focusing on signing younger artists and not signing [so many] older artists. We are always trying to find new talent. These artists bring with them enormous information about the digital world and social media. They live this every day – much more than someone in their 40s or 50s.

When we sign these new acts, normally we are continuing in the same steps as we have done with Anitta. We have a new signing called Ludmilla who is 18 and who came from the same musical movement as Anitta. We are looking to use all the channels they have that are almost the same as those Anitta has. We are trying to create different strategies but using the same channels and always talking to the fanbase.

Instagram, Facebook and fan engagementAnitta is absolutely dedicated to her fans. Via Facebook and Instagram , she is always offering something more – more information and more ideas for her fans. At the start of the year, we released a video clip and more video clips will follow in the coming weeks. In the first clip, we put the phone number in a section of the video and, via Facebook, we invited her fans to call this number. When they called, Anitta answered them.

In another video, she set a challenge to her fans that when the video hit 8m views, she would reveal who the surprise guest in her next video clip was [MC Guimê]. She is always working through her social media to talk to her fanbase.

Creating exclusive content for DSPsStreaming has really started to grow in the last 18 months, beginning with Deezer in Brazil, then Rdio and, since the middle of last year, Spotify. It is growing very quickly. For downloads, the most important retailer is iTunes. It is always helping us to develop new artists.

We are just starting to work with Google Play in Brazil and we are seeing they are moving to enter the market strongly. We are always looking to develop special content

BEHIND THE CAMPAIGNANITTA

for all of these main channels. When Anitta released her second album, we had one DVD, No Meu Lugar, and one CD, Ritmo Perfeito, which contained the same songs as the DVD but was recorded in a studio. For iTunes we put all the audio from the DVD and the CD together as a package called No Meu Lugar Deluxe. It was just iTunes that had this product.

At the end of 2014, we released the standard version of the Ritmo Perfeito album on iTunes and Anitta went back into the top 20 chart.

We are always looking at creating special content as we know it is very important for the retailers. With all the content we are releasing this year we are always thinking about what we can give to Spotify, iTunes or Deezer. We are always trying to find a special strategy for the different platforms. :)

WANT TO FEATURE IN BEHIND THE CAMPAIGN? Marketing people: do you have a campaign you are working on that you would like to see featured in Behind The Campaign in a future edition of sandbox? If so, send a brief synopsis of it to Eamonn Forde for consideration and your work (and your words) could appear here.Email: eamonn.forde@me.com

”Our team in Latin America has significantly increased our investment in Brazilian talent and expanded our marketing efforts in new and disruptive ways. We’re aggressively pursuing opportunities in markets where great local music, massive consumer demand and rapid tech evolution are combining to create exciting new possibilities for artists like Anitta to break through, regionally and globally” Stu Bergen, president, International, Warner Recorded Music.

12 | sandbox | ISSUE 126 | 11.02.15

Published by music:)ally.

music:)ally is a music business information and strategy company.

We focus on the change taking place in the industry and provide information and insight into every aspect of the business: consumer research analysing the changing behaviour and trends in the industry, consultancy services to companies ranging from blue chip retailers and telecoms companies to start-ups; and training around methods to digitally market your artists and maximise the effectiveness of digital campaigns as well as events.

We are now also offering digital marketing services to labels, artist managers, artists and other music related companies from campaign advice and strategy through to implementation and execution.

Clients include:

Universal Music, Warner Music, Sony Music, Spotify, Deezer, Ignition, Beggars, Modest, Red Bull, Shazam, Domino and more

If you have a digital campaign related story for sandbox, please contact Nikoo Sadr onnikoo@musically.com

If you’d like to talk to us about our digital marketing/mentoringtraining services, consultancy or specific research services, please contact Karim Fanous onkarim@musically.com If you’d like to subscribe, add new subscribers, or talk about a corporate deal please contact Anthony Churchman onanthony@musically.com

Digital marketing services

Campaign support services: • Strategy• CRM and Email tools• Digital housekeeping• Social networking updates• Search and online advertising• Mobile applications• Blogs and online PR outreach• Measuring campaign effectiveness

Contact Karim Fanous on karim@musically.com or +44 (0)20 7250 3637 to discuss your digital marketing needs.

Training services: • In house company mentoring• Workshops• Digital briefings• Digital MOT sessions

music:)ally has delivered digital marketing training sessions for a wide range of clients including Universal Music, EMI, AIM/London Connected and many individuals

Check out music:)ally’s training opportunities here Contact Anthony Churchman on anthony@musically.com or +44 (0)20 7250 3637 to discuss your training needs

ABOUTSANDBOX

CONTACT Studio 11, Holborn Studios 49-50 Eagle Wharf Rd London N1 7ED

☎ +44 (0)20 7250 3637

www.MusicAlly.com

mail@MusicAlly.com

Registered company number: 04525243

VAT number: 858212321

© Music Ally Ltd. For the purposes of personal, private use the subscriber may print this publication or move it to a storage medium; however, this publication is intended for subscribers only and as such may not be redistributed without permission.

Subscribers agree to terms and conditions set up on the music:)ally website, except where a separate contract takes precedence. music:)ally has taken all reasonable endeavours to ensure the validity of all items reported within this document.

We do not assume, and hereby disclaim, any liability for loss or damage caused by errors or omissions. In particular the content is not intended to be relied upon in making (or refraining from making) investments or other decisions. We cannot be held responsible for the contents of any linked sites.