Band as a brand

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How transmedia storytelling might be applied to developing a music artist.

Audio for this presentation is on the Transmedia Podcast http://transmedia.podomatic.com/

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Band as a brand

  1. 1. Transmedia Storytelling: Band as a Brand Robert Pratten CEO & Founder, Transmedia Storyteller Ltd @robpratten
  2. 2. About me Pervasive entertainment platform
  3. 3. …and in the recent past…
  4. 4. ..and in the distant past… Moonlight Club, West Hampstead 1984
  5. 5. Transmedia Storyteller Ltd“be remarkable”
  6. 6. Transmedia storytelling is a way to attract and retain audiences.
  7. 7. Transmedia storytelling
  8. 8. Drivers & Enablers• Business driver – Connect with fans & consumers in a meaningful way (word-of-mouth, recommendation, retention)• Technology – Audience has ability to avoid advertising & payment – Fragmentation of communication channels – Social recommendation tools: Facebook, Twitter, Yelp, TripAdvisor – Social check-ins: 4Square, GetGlue – Mobile (smart phones) – Convergence of devices • Xbox vs iPhone vs Social TV: movies, music, social media, gaming• Sociological – Life with abundance – User-generated content – Crowdsourcing and crowdfunding
  9. 9. Transmedia storytelling offers:• Engagement opportunities matched to a range of consumers (expressive, competitive, explorative, collaborative)• Joined-up thinking – Brand narrative – Campaign narrative – Participation strategy – Content strategy – Media strategy (paid, earned, owned)
  10. 10. Storyworld 10
  11. 11. Why Should I Care?
  12. 12. UK Music Secondary Revenues (2009) GBP193.5M (21% of total income) Other Income Premiums Artist-related Income up 17% on 2008 Synchronisation Up 20% on 2008 Public Performance Licensing"Artist-related income" concerts, merch, direct sales, sponsorship, endorsements, digital (exc. ring tones)"PPL (public performance licencing)" domestic TV, radio, pubs, clubs etc"Synchronisation" (films, TV, games)"Premiums" Covermounts and Consumer Promotions"Other Income" (back-end from films & shows, TV productions, hardware deals, advances)
  13. 13. UK Music Secondary Revenues (2011) GBP205.3M (20.5% of total income) Other Income Premiums Synchronisation Artist-related Income 9% total (11.9% 18M 76M 37% of total (14% increase) increase on 2010) Public Performance 83M Licensing"Artist-related income" concerts, merch, direct sales, sponsorship, endorsements, digital (exc. ring tones)"PPL (public performance licencing)" domestic TV, radio, pubs, clubs etc"Synchronisation" (films, TV, games)"Premiums" Covermounts and Consumer Promotions"Other Income" (back-end from films & shows, TV productions, hardware deals, advances)
  14. 14. Diversified revenues up 8.4%
  15. 15. What should I do?
  16. 16. Transmedia Storytelling & Bands• Know the brand premise• Plan for discoverability• Ignite the core• Plan for participation• Plan for Cross-platform strategy• Use Narrative Engagement
  17. 17. A distinct brand premise
  18. 18. Bake inDiscoverability
  19. 19. Competition for AttentionMovies on LoveFilm.com5500iOS apps (App Store) + Android (Google Play) 700,000 700,000Songs on Spotify 1,000,000Songs on iTunes 20,000,000
  20. 20. Discoverability• Be remarkable – relevant – resonant – right production value• Be spreadable – empower advocates – free, giftable
  21. 21. Facebook discoverability
  22. 22. Incitement Be surprising, playful and live?Bristol,UK 2012; by splash & ripple Incit
  23. 23. Live performance mobile app?
  24. 24. Ignite the core
  25. 25. Empower advocates
  26. 26. Metrics• Marketing budget = $0• Production budget = $500• Total Net Kindle Revenue (2011) = $1748• Total shipments on Kindle Jan 1st to Dec 31st 2011 = 972 (retail price at Amazon.com $2.94)• Number of people connecting to Lauren Ortega on email = 83 = 9% of total sales• Video views of Episode 1 (Jan 1st to Dec 31st 2011) = 4727
  27. 27. Sales vs Social Media (Lowlifes) NB: “video views” used as simple proxy for trend of social media activity. Wasn’t the sole activity also included email, Twitter, Facebook etc.
  28. 28. Sales vs Social Media (Lowlifes) Tipping point
  29. 29. “Big on Facebook/Twitter/LinkedIn”
  30. 30. Kony 2012Ignited core says to curators (with large audiences) “I’m relevant” Image from http://krishk.com/2012/04/kony-slactivism-justice/
  31. 31. Content Strategy
  32. 32. How an artist can earn $1,160 a month image by David McCandless at Information is Beautiful] Data at http://bit.ly/DigitalRoyalty
  33. 33. How an artist can earn $1,160 a month• Sell 150 CDs yourself (no label)• Sell 1,200 albums through iTunes (label)• Sell 1,500 tracks through CDbaby (no label)• Sell 12,000 tracks through Amazon MP3 (label)• Stream 850,000 tracks through Rhapsody (label)• Stream 1.5 million tracks through last.fm (label)
  34. 34. Streaming pay rates http://thetrichordist.com/2012/04/23/streaming-price-index-123111/
  35. 35. Multi-platform strategy Official iTunes Televised Good site festival Revenue Local gig Spotify piracy Poor Poor Good Spread, Attention and Credibility
  36. 36. Interactive Video
  37. 37. Converged Media http://www.altimetergroup.com/2012/07/the-converged-media-imperative.html
  38. 38. Including piracy in your contentstrategy Owned Paid EarnedContent & places you control: Exposure you pay for: Exposure & credibility others give you:• Music recordings • Advertising (web, radio, • Word-of-mouth• Videos TV, mobile) • Great reviews• Artist website • Payola • Sharing of YouTube videos• Facebook Page • Facebook Likes• Twitter account • Remixes • ReTweets • Piracy Create to build long-term Quick exposure but maybe Gained through Owned & Paid profitable relationship with untrusted Most credible but slow to build fans Short-term attention does not Demonstrates engagement guarantee long-term survival
  39. 39. Label with weak artist Paid media won’t sustain a weak artist (one-hit wonder?)
  40. 40. Independent artist with great music But word-of-mouth takes time and energy to build
  41. 41. Label with strong artist Paid media provides attention that multiplies spread Earned media is “trusted“ and multiplies results of paid media
  42. 42. Find the right mix of platforms• Revenue gained• Cost of delivering content• Ability of platform to enable social spread of content• Fit to audience lifestyle• Remarkability (uniqueness/coolness/timeliness/quality) of platform or content• Timing of release to audience
  43. 43. Matching Audience to Platforms• Audience – Who are they? – Lifestyle? – Where do they hang out?• Platforms (e.g. media + technology) – Reading: paperback, ebook, comics – Watching: TV, online, mobile, theatre, cinema – Listening: radio, online, mobile – Interacting: console, online, mobile, social 44
  44. 44. Finding content opportunitiesSocializing: helping consumers connect with Digital: technology solutions toeach other through conversation, sharing, enable, manage and measurecollaborating, competing, meeting experiences Social DigitalHow does the physical How can digitalproduct assist socializing enhance or facilitatein the “real world”? socializing? Physical How can the experience of the physical product be Physical: the tangible product enhanced by digital?
  45. 45. Flaming Lips http://www.youtube.com/watch?v=RYT_t5y_9Qg
  46. 46. Engagement Strategy
  47. 47. Old Skool
  48. 48. New Skool
  49. 49. Give fans the tools• Community (uploads, reviews)• Mobile apps• Social games• Downloads – graphics, sounds, merchandise• Facilitate and encourage remixing & mashups
  50. 50. Give fans the tools• Community (uploads, reviews)• Mobile apps• Social games• Downloads – graphics, sounds, merchandise• Facilitate and encourage remixing & mashups
  51. 51. Beck – Song Reader“twenty songs existing only as individual pieces of sheet music, neverbefore released or recorded” http://songreader.net/
  52. 52. RadioHead – fans remix Nude
  53. 53. What people want• Significance (special, important, unique)• Certainty (comfort & control)• Variety (surprise)• Connection (love)• Growth (learning, mastery)• Contribution (giving back)
  54. 54. Fandom meets human needs Storyworld Comfort Comfort Growth Growth Learning Learning Surprise Surprise Fan Fan Community Significance Contribution
  55. 55. Gorillaz is a Storyworld
  56. 56. Narrative = story• Characters• Conflict (Plot)• Time• Location• Fans will invent their own stories if you give them the tools: – scooters, parkas, suede shoes, haircuts, tattoos, symbols… meat dress? – going to a gig
  57. 57. Narrative engagement
  58. 58. Narrative engagement The Who Quadrophenia Sham 69 That’s Life
  59. 59. RetentionWhat is this artist saying? (what’s the premise?)Does the artist grow over her career?
  60. 60. Narrative engagement Over-arching narrative across three albums“…explores the concepts of evolution and revolution and links between media martyrs Jesus Christ, John F. Kennedy and John Lennon byfocusing on various alchemical, political, cultural, historical, mythological and Biblical themes.”Sarah Quellandhttp://www.metroactive.com/papers/metro/12.14.00/cover/manson-0050.html
  61. 61. Band: Hail The VillainAlbum: Population: Declining“the website allows users to navigate through the scene to unlock character back-stories, clues, downloads and to participatein the story by becoming Villains and sharing messages with the band”
  62. 62. Narrative engagement Developed by GRAND, Toronto
  63. 63. Narrative engagement
  64. 64. Narrative engagementAn alternate reality game (ARG) is aninteractive narrative that uses the realworld as a platform, often involvingmultiple media and game elements, to tella story that may be affected byparticipants ideas or actions.The term "marketing" sure is a frustrating one for me at themoment. What you are now starting to experience IS "yearzero". Its not some kind of gimmick to get you to buy arecord - it IS the art form... and were just getting started.Hope you enjoy the ride.Trent ReznorCase Study: http://www.42entertainment.com/yearzero/
  65. 65. Conclusions• Use narrative engagement to build relationships with fans• Reward fans for their loyalty• Empower fans to introduce others to your artists• Need a multi-platform business model
  66. 66. The End Robert Pratten robert@tstoryteller.com @robpratten USA: +1 415 287 4150 Europe: +44 207 193 4567
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