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. Transmedia Storytelling: Band as a Brand Robert Pratten CEO & Founder, Transmedia Storyteller Ltd @robpratten
- 2. About me Pervasive entertainment platform
- 3. …and in the recent past…
- 4. ..and in the distant past… Moonlight Club, West Hampstead 1984
- 5. Transmedia Storyteller Ltd “be remarkable”
- 6. Transmedia storytelling is a way to attract and retain audiences.
- 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. 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. Storyworld 10
- 11. Why Should I Care?
- 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. 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. Diversified revenues up 8.4%
- 15. What should I do?
- 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. A distinct brand premise
- 19. Competition for Attention Movies on LoveFilm.com 5500 iOS apps (App Store) + Android (Google Play) 700,000 700,000 Songs on Spotify 1,000,000 Songs on iTunes 20,000,000
- 20. Discoverability • Be remarkable – relevant – resonant – right production value • Be spreadable – empower advocates – free, giftable
- 22. Incitement Be surprising, playful and live? Bristol,UK 2012; by splash & ripple Incit
- 23. Live performance mobile app?
- 24. Ignite the core
- 27. 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
- 28. 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.
- 29. Sales vs Social Media (Lowlifes) Tipping point
- 31. Kony 2012 Ignited core says to curators (with large audiences) “I’m relevant” Image from http://krishk.com/2012/04/kony-slactivism-justice/
- 32. Content Strategy
- 33. How an artist can earn $1,160 a month image by David McCandless at Information is Beautiful] Data at http://bit.ly/DigitalRoyalty
- 34. 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)
- 35. Streaming pay rates http://thetrichordist.com/2012/04/23/streaming-price-index-123111/
- 36. Multi-platform strategy Official iTunes Televised Good site festival Revenue Local gig Spotify piracy Poor Poor Good Spread, Attention and Credibility
- 38. Converged Media http://www.altimetergroup.com/2012/07/the-converged-media-imperative.html
- 39. Including piracy in your content strategy Owned Paid Earned Content & 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
- 40. Label with weak artist Paid media won’t sustain a weak artist (one-hit wonder?)
- 41. Independent artist with great music But word-of-mouth takes time and energy to build
- 42. Label with strong artist Paid media provides attention that multiplies spread Earned media is “trusted“ and multiplies results of paid media
- 43. 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
- 44. 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
- 45. Finding content opportunities Socializing: helping consumers connect with Digital: technology solutions to each other through conversation, sharing, enable, manage and measure collaborating, competing, meeting experiences Social Digital How does the physical How can digital product assist socializing enhance or facilitate in the “real world”? socializing? Physical How can the experience of the physical product be Physical: the tangible product enhanced by digital?
- 46. Flaming Lips http://www.youtube.com/watch?v=RYT_t5y_9Qg
- 48. Old Skool
- 49. New Skool
- 50. Give fans the tools • Community (uploads, reviews) • Mobile apps • Social games • Downloads – graphics, sounds, merchandise • Facilitate and encourage remixing & mashups
- 51. Give fans the tools • Community (uploads, reviews) • Mobile apps • Social games • Downloads – graphics, sounds, merchandise • Facilitate and encourage remixing & mashups
- 52. Beck – Song Reader “twenty songs existing only as individual pieces of sheet music, never before released or recorded” http://songreader.net/
- 53. RadioHead – fans remix Nude
- 54. What people want • Significance (special, important, unique) • Certainty (comfort & control) • Variety (surprise) • Connection (love) • Growth (learning, mastery) • Contribution (giving back)
- 55. Fandom meets human needs Storyworld Comfort Comfort Growth Growth Learning Learning Surprise Surprise Fan Fan Community Significance Contribution
- 56. Gorillaz is a Storyworld
- 57. 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
- 59. Narrative engagement The Who Quadrophenia Sham 69 That’s Life
- 60. Retention What is this artist saying? (what’s the premise?) Does the artist grow over her career?
- 61. 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 by focusing on various alchemical, political, cultural, historical, mythological and Biblical themes.” Sarah Quelland http://www.metroactive.com/papers/metro/12.14.00/cover/manson-0050.html
- 62. Band: Hail The Villain Album: Population: Declining “the website allows users to navigate through the scene to unlock character back-stories, clues, downloads and to participate in the story by becoming Villains and sharing messages with the band”
- 63. Narrative engagement Developed by GRAND, Toronto
- 65. Narrative engagement An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions. The term "marketing" sure is a frustrating one for me at the moment. What you are now starting to experience IS "year zero". It's not some kind of gimmick to get you to buy a record - it IS the art form... and we're just getting started. Hope you enjoy the ride. Trent Reznor Case Study: http://www.42entertainment.com/yearzero/
- 66. 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
- 67. The End Robert Pratten robert@tstoryteller.com @robpratten USA: +1 415 287 4150 Europe: +44 207 193 4567