NME Case Study-Check this out!

This is a great example of how successful sponsorship's can be. Looking at how they evolved and how effective it all was for the industry. Have a look, see what you think? Did you think these were a good match? 

http://www.ipcadvertising.com/resource/apzbx255hezr9cmlcfm1wf6a.pdf

Demonstrating the success of sponsorship; NME and Shockwaves 

Sponsorship goes beyond MONEY...

In 2006, the O2 spent an estimated £2m on music sponsorship and reportedly increased its funding by a further £7m as it reopened the O2.

"Certain brands just want their logo on events, but we do as much as we can to enhance the music experience," says O2's Samuels.

"Many sponsors see their involvement as a two-way partnership ... adding value to an event by providing cold beer, offering priority tickets, promoting new talent and opening up music to a wider audience."

Music events and Sponsorship, how do they work?

Previous studies have shown that, sponsorship's' music event sponsor and event congruence influence attitude towards the sponsor, brand awareness and purchasing intentions (Grohs et al, 2004 ; Gwinner and Eaton, 1999; Speed and Thomson, 2000).

Therefore, for the two businesses (music events and potential sponsors) to be successful and have a positive impact on one another, the similarity between the two is extremely important and McDaniel (1999) stated;

“Sponsor and event fit can support the brand to reach its target market and instigate the effective associations"

Therefore, sponsors should seriously consider if their brand image is relevant and connects to the event in question for them to achieve an effective promotion of their products. Along with the research conducted by the authours of “Sponsorship in music festivals can influence the beliefs of the participants” results showed that fan involvement encouraged both the attitude toward towards the event, sponsors and their purchasing intentions, concluding that highly involved fans are increasingly more likely to buy the products and think positively of the music event. This research was also supported by Previous studies resulting in similar results (Alexandris et al, 2007; Bennett, 1999 ; D’Astous and Bitz, 1995; Dees et al, 2008; Fisher and Wakefield, 1998; Meenaghan, 2001; Schurr et al, 1988; Smith et al, 2008; Wann and Branscombe, 1993). “Fans can share the same values as supporters of a team or an event and this strengthens the feeling of unity among them (Wann & Branscombe, 1995).”

"Thus, an indiviudal who is more involved in the event that he attends can comprehend the values of the event and associate these values to the sponsor of the event." (Meenaghan, 2001)

So, over all, research has proven that yea, highly involved fans, who attend more music events and with like-minded business' going into partnerships (eg; NASS and Relentless) fans are more willing to spend more on tickets and products, and not only this but they will also remain loyal to the companies in 'question'. (Smith, et al, 2008)

Partners in business

So, the music awards! Why the big hype and how are they still successful? I mean the exclusivity has almost completely vanished due to the impacts of technology, and music artists are on every billboard, incorporating their music and ‘talents’ into other businesses; sports, marketing, clothing, drinks. Yet, the music award industry still remains strong and its’ developing every day to keep viewers and artists on their toes, intrigued and counting the days until the next event. Now, let me tell you why…

Can celebrities take on the brand marketer's role?

(Beyonce is collaborating with PepsiCo in a preorted £33m deal that includes a fund to support her own creative products which may not be related to the drinks brand.)

Sponsorship! Now, Sponsorship is nothing new, we have always heard of major sponsorship deals. Clothing designers have sponsored artists and even for new and up and coming acts it is quite simple to obtain free clothes from certain labels. It’s a simple process businesses pay celebrities to advertise products to as many people as possible.  Lately though, sponsors have realised artists are more and more expanding the strength of their brand and offering more deals for artists whether they are on tour or not.

And it’s through online developments and technology expansion, that people may not be willing or have to pay for music! Therefore artists will (and already are) looking into other revenue streams to support their development, and if recording companies are in as much trouble as they say they are, they does this mean that  fewer music artists will be signed so will new creativity be ignored?

Celebrity endorsements can be as much about targeting a specific fan base as they are about publicising the liquid in the bottle. Star power may be just the right thing to draw attention to both a category and a brand.

Popular Music Awards and the audience they attract, along with music industry lovers, are about 16-30 years old and likely to be drawn into many commercial TV shows, events and news. We are all now so fascinated by the 'celeb lifestyle' and hungry for reality TV. Music Award shows are so highly publicised due to the celebrity and media attention that we all want to 'be there' any way we can to be up to date with the latest hot gossip from the events. 

Vivienne for the BRITS. Most successful yet?

The Winners Trophy...

So, the Brits’ trophy you say, revamped every year since the changes made for 2011. Firstly the blank canvas was redesigned by the magnificent Dame Vivienne Westwood, then by Sir Peter Blake, legendary pop artist and most recently by the weird and wonderful Damien Hirst. The idea of the re designing of the trophy was so that in the following years other major British designers will follow suit as the statuette was reinvented each year. Assisting with the BRITs having committed to working with the most innovative and original artists – those who help to inspire the British creatives’ of the future.

It was joked that since suspending each individual statuette in a tank of formaldehyde was likely to be impractical, and encrusting it with diamonds – like Hirst’s £100 million skull – was prohibitively expensive, perhaps he'd resort to his famous multi-coloured dots design.

And surprise surprise the new statuette – the third now since the music awards organisers decided to turn the design over to a different British artist each year – is simply the old one wrapped in a sheet of Hirst’s polka-dot wallpaper.

The design that is Hirsts’ trademark makes the statuette less of a coup for the Brits and more a trophy for Hirst. A few people ranted that “of course we want to see something of his particular style in it – but that doesn't mean recycling an existing work.”

Ok, ok so yes the association alone with Hirst benefits the awards greatly whether he designs anything new or not, but in that case all the organisers really needed from him was permission to use his famous coloured dots, since they could have come up with that idea just as quickly.  This just shows the impact of the effects of partners in business,in the end, beauty is in the eye of the Brit of the beholder. And, so far, the Brits have how successful partnerships can be! 

So, any prediction on who may be set the task of designing ‘a one off’ next?...

The BRITS

So, The Brit awards, renowned to be the glitziest event in the UK music industry calendar. And maybe one of the most talked about (and yes maybe a little criticised events) took one comment to heart, in 2010 when they were accused of being “an outdated relic”. And so, that’s when it began, one of the biggest revamps to take place in the history of the Brits.

So, the changes – included a new venue, a new award designed a British icon, a greater focus on the album of the year, the scrapping of the outstanding contribution to music award and changes to the voting academy –

David Joseph, the CEO of Universal Music UK and the new Brits chairman, told the Guardian...

“This will transform the awards”

"I want to see more music, I desperately want more gravitas – I want it to be fundamentally about music," he said. "It has been great ... but I'm trying not to look too much at the past."

The venue was announced to be moving from Earls Court, “where the show had been held for the past 11 years,) to the O2 Arena – a switch that will make a huge difference, said Joseph.

Of which is where the Government said they were set for a substantial windfall after the O2 posted record ticket sales of £60.3 million and celebrated its third year in a row as the world's most popular music venue. (Dec 2010)

The classic, iconic Britannia trophy also got a revamped. Vivienne Westwood set out her creative talents upon the ‘blank canvas ’. The 2012 trophy was designed by legendary pop artist Sir Peter Blake. And the latest one by Damien Hirst (…we will come back to that)

But finally, MasterCard, their headline sponsor, the business has successfully sponsored The BRIT Awards for 15 years. This record-breaking partnership is largely down to the way MasterCard's sponsorship has been so successfully leveraged. Their responsibilities have included a vast range from designing and developing digital campaigns in the run-up to the evening, to organising suite branding and concession branding on the night not to mention that they run the sponsor's after-show party, and arrange for a popular celebrity to present The MasterCard Album of the Year Award, all included in the accomplishment that now is The Brit Awards.  

“We branded all the concessions stands, highlighting MasterCard's contactless technology with the line, 'Good things come to those that don't wait'. We also dressed suites in MasterCard collateral to maximise the brand's reach on the night.” (http://www.biggroup.co.uk/brit-awards.html)

However, 2011 they were to be accompanied by another sponsor- the Brits had a digital sponsor for the first time: iTunes, which will sponsor the single of the year award along with Capital radio. So, technology who have had a HUGE impact on music sales and the industry all together, have joined forces to celebrate the musicians who lose out in profit because of illegal downloads and the extremely cost affective iTunes store. Could this be right? Well so far, it’s been a success and the audience and the artists have taken kindly to the new developments within the event. Perhaps with the two forces joining together has helped encouraged audience to download music legally with the successful iTunes.

Technology Take-over

This is absolutely awesome! MUST SEE VIDEO! Traditional and modern combine at the orchestra, can you believe it! The take over of technology, the future of music events? 

HAPPY RECORD STORE DAY 2013

TODAY is 'Record Store Day' so go out there and support you local record store...

"This is the one day thay all of the independently owned record stores come together with artists to celebrate the art of music. Special vinyl and CD releases and varisous promotional products are made exclusively for the day and hundreds of artist across the globe make special appearances and performances."

Find out more at: www.recordstoreday.co.uk

List of record stores in London:

• Rough Trade
• Haggle Vinyl
• Sound of the Universe
• Phonica Records
• BM Soho

Did you know...

• Large scale live music events in the UK contribute almost £1bn a year to the UK economy, a major industry survey of festivals and concerts suggests.

•  At least 7.7 million visits to events in 2009 resulted in £1.4bn being spent, equivalent to a positive contribution to the economy of £864m, UK Music said.

•  This expenditure sustained the equivalent of 19,700 jobs, it added.

• One fifth of the total spend came from overseas tourists, who spend 25% more than non-music tourists

Do comedian's make the best hosts?

Its just been announced that actor-comedian Tracy Morgan is set to host this years 2013 Billboard Music Awards in Las Vegas next Month. Something he says...

"I'm honored to be a part of one of music's biggest nights."

Read more;

 http://www.upi.com/Entertainment_News/TV/2013/04/18/Tracy-Morgan-to-host-Billboard-Music-Awards-in-Las-Vegas/UPI-65031366289122/#ixzz2QuQSlOAW

Many comedians over the years have taken centre stage to host some of the world biggest and most publicised music awards. But it hasn't always been 'all fun and games' as you'd expect. British comedian, Russel Brand, presented the MTV Video Music awards in 2008, and caused some upset with his controversial and blunt humour. Despite this he was invited back to the states the following year host the 2009 Award show. US comic, Kevin Hart too got his go at host of the MTV Video Music Awards last year and was also questioned about his 'on the edge' jokes regarding the 'Drake and Chris Brown brawl' and the 'Kristen Stewart affair.'

The BRITs took a less risky approach and chose the lovable, incredibly British comedian James Corden to host in both 2012 and 2013. Poor Corden was criticised for cutting off the British music industry's finest, Adele, during her acceptance speech but in his defense he was put in a very difficult position as host trying to keep to the tight LIVE schedule of the show. 

In my opinion comedians are great hosts. They keep us entertained, make us laugh and definitely keep us 'on the edge of our seats.' They add character and humour and shouldn't be taken as seriously as they have in the past.

However, everyone and everything that takes place during these hugely anticipated and publicised events are open to criticism, and we all know much easier it seems to be for journalists to pin-point the flaws. And in entertainment, as long as people are talking, any news seems to be good news right? 

How well do you think Tracy Morgan will to at this years Billboards?

And the WINNER is...

"The selection of award winners is based on Billboard's chart rankings which are determined by album sale, track download, radio airplay, touring, streaming and social media data collected during the time period between Feb. 27, 2012 and Feb. 24, 2013"

Reference: http://www.pastemagazine.com/articles/2013/04/tracy-morgan-to-host-the-2013-billboard-music-awar.html

The Digital Development of Music Awards- The BRITs!

How the BRITs began and how they are today are two very different events. I am going to focus on the advancement of digital technologies and how they have developed The BRITs into a commercial, ‘mega’ music event.

“So wind back the years and its 1977- the year it all started. Cher was already 21, Robbie was 3 and Beyonce was just a figments of her parents imagination,” (The BRITs).

The first ever ‘BRITs’ were known as the ‘British Record Industry Britannia Centenary Awards’ (yes..! it’s a mouthful).  The event was established to mark the centenary of Thomas Edison’s invention of sound recording and was the music industries’ way of marking the Queen’s Silver Jubilee whereby the BPI would honour music from the previous quarter century. The event cost £25,000 to stage and broadcast, with 85 member company of the BPI (The British Recorded Music Industry) choosing the award winners. Then it was broadcast by Thames Television and it was noted that “it was definitely TV running the show” with Simon and Garfunkel doing a draw dropping performance, but being asked to do it again… and again. This takes the magic out of a concert for the audience and is probably a contributing factor to why today's BRITs are now live/live.  Live/Live means that the show happens between 8pm-10pm, with not a minute to spare, shown on ITV. Performers play live and winners are announced live, keeping the audience on the edge of their seats… not knowing what might happen next. For me this all adds to the excitement and memorability of the ceremony.

In complete contrast, after a 4 year break and being renamed the ‘British Record Industry Awards,’ because of the TV takeover in 1977 that took away from the event experience, the 1982 ceremony had no performance and no broadcast. It was an ‘industry only’ event with a three course meal and prizes awarded to great music achievements from the previous 12 months. 

The BRIT Awards as we know them today have come on a lot. Already mentioned today's show is well and truly LIVE on ‘Prime-time’ television, since reverted back in 2009, with one stage and one shot for all performers, entertainers and event staff. A tight schedule has to be upheld during the event with stage turnovers being conducted while awards are being presented…its no wonder the production team are pleased when winners want to that ‘everyone under the sun.’

Now 1000 selected Voting Academy Members across all sectors of the music industry decide upon the nominees and an online voting system is in place on the BRITs website for the pubic to select upon the WINNER! The BRITs have become a commercial,  long standing, inclusive of all music lovers, magnificent event with a huge British personality, which I believe differentiates itself from the number of other commercial global Music Awards (each with their own USP too, of course). The internet and online presence has definitely added to this and expanded the event to us, outside the industry, letting us truly get involved and feel apart of the show. It is this that has sustained the level of interest and enthusiasm for the music awards over the year.

Their online presence, like so many organisations, doesn't stop now at a company website. The BRITs website links to all their social networking sites which include Facebook, Twitter, YouTube and Tumblr. Despite using these for the obvious of updating their fans of news but the fun element with big events and shows is the real time nature of social networking. Twitter specifically is used for people to share there thoughts and communicate with others  and  ‘The BRITs’ themselves about the event while its taking place using the ‘hash tag’ (#) tool. You repeatedly see this appear on your TV screen now, often referred to as trending, and creates online forums for discussions increasing people interaction with the event. Their website also offers exclusive and backstage footage of the event, again increasing public engagement, something which wouldn't be so ‘expected’ and ‘ absorbed’ by us without the internet and social media. Through digital advances we are also now able to purchase and download from iTunes (advertised via the website) live performances from the BRITs. Technology has advance so much that we can now gain a clear sound recording from a live event and distribute this completely digitally for peoples personal and ‘on the move’ use… Crazy! Broadcasting music events like this can directly and instantly increase artists digital sales of singles and albums too. If we see a performance we enjoy we can jump straight onto out laptops, tables and smart phones and download the track we want right there and then.

The BRITs has come a long way from where it started with the help of digital technology and how this has impacted day-to-day life and the way we all communicate and do business. Its no wonder building and planning this show takes around 9 months every year, but its definitely worth it for us music fans! 

Online to ONSTAGE!

Technology and the internet have undoubtedly changed the way we live, communicate and do business. Social Networking has transformed the commercial industry, especially in music and entertainment. YouTube was one of the first video sharing sites, and probably still the most well know of them all. Founded in February 2005 YouTube allows billions of users to discover, watch and share originally created videos.

Each month YouTube has over 1 billion users watching over 4 billion hours of video and receives 72 hours of new content every minute- YouTube statistics.

YouTube is now become a global platform for people to brand and sell themselves to a worldwide audience, for FREE! Anyone can have their own YouTube channel with the chance of their clip ‘going viral’ and being shared by millions. YouTube is absolutely dominated by music. From the top 20 Most Viewed YouTube Videos of all time, 19 are music videos. This highlights the overwhelming need for aspiring artists and bands to take advantage of the social networking site to get their music heard and embed it into their ‘digital marketing strategies.’  Just like a blog there are many tools and tactics to getting more video views and subscribers to your channel, for example; 'optimizing your tags,' posting often, and creating quality that offers something 'remarkable' for your fans. 

With the potential of reaching such a mass audience (over 127 million unique visitors in May 2012 alone) the power of the internet and YouTube has consequently propelled aspiring young talents to fame and fortune. Here are just 2 chart-topping artists that started online, which I’ve personally followed throughout their journey to success...

Justin Bieber-before he was discovered in 2008 by American talent manager Scooter Braun, who came across Bieber’s videos on YouTube and later became his manager. 

Braun later arranged for the young singer to meet with Usher Raymond in Atlanta, Georgia, and signed him to ‘Raymond Braun Media Group’ (RBMG). Bieber was then approached LA Reid, record executive for Island Records, who offered him a further recording contract. Probably the most well-known artist to have started on the online platform has already won awards at the American Music Awards, Billboard Music Awards, Brits, MTV Video Music Awards, MTV EMA, NME and more…

Conor Maynard- When American singer/songwriter Ne-Yo watched Maynard’s cover of his track ‘Beautiful Monster’ he contacted the singer, actually setting up a Skype meeting with him, and later went onto become his mentor, recently releasing a song together ‘Turn Around.’ Conor’s rise to success in 2012 has led to him being nominated for awards at the Urban Music Awards, Mobo Awards, MTV EMA’s , The Brits and has won the MTV’s Brand New for 2012 award.

Ne-Yo has since discovered and signed British Indian artist Sonna Rele to Universal Motown Rocords. While in London on his UK tour last month he offered a recording contract when she performed at his intimate gig in association with Priceless London at ‘Under the Bridge.’ He then further invited her to accompany him at his O2 concert the following week.

We wonder how well this YouTube star will do, and if she will one day be receiving these iconic music awards of her own.

New online technology has opened the doors for people to be noticed and signed by major recording labels who believe in their talent, which has clearly been recognised and embraced at music awards ceremonies around the world. 

Technology and Music Consumption- An introduction to Technology!

Technology has been one of the greatest developments of our time. Now life without the Internet, smart phones, social networking and iPads would seem pretty dull. We love technology. Feeling constantly connected to our social worlds and instant access to an overwhelming content of information, news, videos and music at our finger tips. Technology has completely changed the way we live, communicate and do business.

Over the years the music industry has had to cleverly adapt and change to keep up with advancing technology.  Initially artists made money from record sales, album sales, and touring. Before ‘the digital age’ fans would have to walk into a music store, and buy the vinyl record or album to listen to the great quality sound in the comfort of their homes, as they lacks the ability of easy transportation. However micro-music developed throughout the 90’s and music became almost completely digital. This opened the doors for sits and software like LimeWire and Napster to enable people to stream and download music for free directly to their computers. With little to no barriers this meant the masses had incredibly quick easy access to music they wanted. Eventually many of these sites got shut down for copyright infringements and IP lawsuits and the industry was left wondering how to continue charging for goods still available for FREE online?

Welcome to the ‘Apple’ era…

Music on the move has been available to us since the early 90’s, and artists were able to utilize CDs and smaller vehicles of music playback such as Walkman or CD Players. However Apple and its ‘i’ products took the music industry by storm with a world renowned status and arguable saved the music business by provided a legal music downloading system iTunes.  This provided a new platform, keeping up with the industry advancements, for record labels and artists to sell their music completely digital. Now we don’t have to go to a store to purchase a new single or album. We can simple hear it on the radio and jump straight onto our Apple product, whether it be our ‘iPhone’ ‘iPad’ or ‘iPod and download it straight to our account. Apple has made music so… available to us!

Illegal downloading still happens and combined with streaming sites like YouTube, Vevo and SoundCloud and legal download site iTunes in-store record sales are suffering. Now, youngsters especially, are growing up in a world where you aren’t proud of your CD collection and owning that album, being able to flick through the album leaflet isn’t enough to want to OWN the physical copy.

Research in recent years has shown;

• Only 53% of young people have purchased music or video in-store over the last 12 months. This is partly attributed to the popularity of downloading and streaming via the internet (Mintel, 'Youth technology-UK-2010). 
• The number of people buying CDs year on year fell for the third time in 2011, despite approximately half of consumers in Mintel’s exclusive consumer research preferring to own a physical copy of their content (Mintel, 'Media Consumption - UK- July 2012').
• The BPI (British Phonographic Industry) estimates that online copyright infringement cost the UK music industry around £200 million in 2009. New legislation has now been passed (the Digital Economy Act) to discourage illegal file sharing,  but it is not clear how successful this will be and the likelihood is that new tools for piracy will emerge (Mintel, 'Paid-For vs. Free- Consumer attitudes to pricing in Media and Music- UK - April 2010).

HMV goes into administration…

Having been around since 1921, HMV has struggled to complete with online retailing, supermarkets and digital downloads. Despite diversifying into live venues, festivals, ticketing and promoting, and artist management operations, increasing its product range, as well as having a digital site powered by 7digital offering download services, the music store still went into administration in January 2013. Shares were suspended from the London Stock Exchange. With declining sales and share price as well as debts HMV had to announce they would be closing around 100 stores to try and save the company from total collapse.

Even many of us who haven't stepped into a HMV for years ourselves still probably hold a soft sport for the record store we grew up with. UK artist, Wretch 32, posted this image on his Instagram site expressing his sorrow witnessing the iconic white dog disappearing from our high-streets...

However this month brought a little light to HMV as many branches were sold to Hilco (already owning HMV Canada). This is set to save 141 outlets, saving jobs and giving some areas their local music store back. The future for the UK’s last surviving national music retailer still however looks uncertain.

Technology has allowed artists to engage on a more personal level through the development in technology and social media. Now we can follow and chat to our favourite artists on Twitter and Facebook, we can get an insight into their lives through their eyes on their Instagram and Keek accounts, all which add value to the relationship fans develop with their much-loved performers.

Technology despite having its harmful effects on the industry has also forced and enabled a wave of creative experimentation with new business models and opportunities to distribute music.

Check out our next blog post for examples of innovative and exciting new ways music lovers are able to share and discuss music thanks to technology…