Sunday, October 18, 2009
Wednesday, July 15, 2009
Music Branding Gets All Grown Up
Originally published in Talent Zoo on 14th July 09
By: Mike Tunnicliffe
The last few weeks have been the busiest this year to date for the “brand”-related music space thanks to a number of breakthrough announcements involving brands and entertainment properties partnering in ways that are delivering real commercial benefit and delivering new revenue streams.
Here are some examples:
Universal and George at ASDA. Universal Music announced a tie in with Walmart’s George at ASDA clothing line in the U.K., where lyrics from Universal’s catalogue have been printed on clothing and shoppers who buy the products will be offered free downloads of the songs the lyrics are from. Look out for people walking around with “Born To Be Wild” emblazoned on their chests and blaring from their earpieces, but more importantly, look out for incremental revenues for Universal Music and ASDA.
Pearl Jam’s new partners. The band announced that it’s releasing its next album without a traditional label involved for the first time in the band’s 18-year history. Instead, a number of commercial partners will be on board, including Target. The retailer will be the exclusive big-box retailer to carry its product, and Pearl Jam has cut a Target TV commercial. (The Eagles had a similar exclusive arrangement with Walmart for its “Long Road Out of Eden” and AC/DC and Guns n’ Roses have recently tied up similar arrangements with Best Buy for their respective album releases.)
Liam Gallagher and Pretty Green. Oasis front man Gallagher announced the launch of a new clothing line, Pretty Green, available at http://www.prettygreen.com/ The site lures fans with free exclusive content, including a movie and behind-the-scenes look at a Gallagher photo shoot. It’s rumored that the next Oasis single will be released free at the Pretty Green site.
Beatles Rock Band game. The long-awaited game from Harmonix / MTV Games and Apple Corps was unveiled in Los Angeles at the recent E3 , electronics and entertainment expo. The Rock Band game will launch this fall to coincide with the digital release of the entire Beatles’ back catalogue. The Beatles are the latest iconic music act to partner with a music gaming franchise to release their own branded game, following in the footsteps of Aerosmith & Metallica who have released games with Guitar Hero and with others from Hendrix and Van Halen rumored to be in development.
Artists partnering with brands and brands using music in their marketing is nothing new, but the neat thing about the ideas above is that they’re clear examples of where consumer brands are becoming business partners and revenue generators for artists (and vice versa) rather than just suppliers of exposure, and ad dollars and this is set to increase further with brands potentially being one of the commercial lifelines for the music and entertainment business.
The financial/commercial approach to the monetization of content and entertainment brands needs to be as innovative as any technological development we’ve seen over the last few years. The real “rock stars” of the business of music are going to be those who can create value and hard revenue from innovation, in whatever forms that takes. It might even be something that executives in the music industry can learn from their more rigorous consumer brand counterparts.
There is also a growing acknowledgement, that artists partnering with brands need to be able to deliver real tangible benefits and that these partnerships need to be based on a higher level of strategic thinking to ensure a good brand fit, relevance and benefit for the brands & the fans/consumers. If we get this right, these types of partnerships could become a longer term – more consistent play for the brands and a revenue generator for the brands and artists, rather than a glorified form of sponsorship or endorsement.
These and other key themes around brands, advertising and music were discussed and vigorously debated at the inaugural Billboard/Adweek 'Music in Advertising' conference which was packed with attendees from the music and brand worlds. This space is very definitely moving towards the top of the brand marketing worlds agendas as advertisers seek out new and different ways of emotionally engaging with consumers (fans) and artists and entertainment properties seek ways to monetize around their ‘brand’ and their content.
It seems that we truly are at the dawn of a new era. Opportunities abound at every corner. Music is more alive than ever, consumers listen to more music in more ways than ever thought possible, artists interact and build connections with fans in new and unique ways, music and other entertainment content can be delivered via multiple platforms for a fraction of the cost of traditional methods, and artists can form business relationships with many different partners—including consumer brands.
The opportunities for brands to partner with music in creative and commercially fruitful ways are endless. The only thing that limits them is our imaginations.
Originally published in Talent Zoo on 14th July 09
By: Mike Tunnicliffe
The last few weeks have been the busiest this year to date for the “brand”-related music space thanks to a number of breakthrough announcements involving brands and entertainment properties partnering in ways that are delivering real commercial benefit and delivering new revenue streams.
Here are some examples:
Universal and George at ASDA. Universal Music announced a tie in with Walmart’s George at ASDA clothing line in the U.K., where lyrics from Universal’s catalogue have been printed on clothing and shoppers who buy the products will be offered free downloads of the songs the lyrics are from. Look out for people walking around with “Born To Be Wild” emblazoned on their chests and blaring from their earpieces, but more importantly, look out for incremental revenues for Universal Music and ASDA.
Pearl Jam’s new partners. The band announced that it’s releasing its next album without a traditional label involved for the first time in the band’s 18-year history. Instead, a number of commercial partners will be on board, including Target. The retailer will be the exclusive big-box retailer to carry its product, and Pearl Jam has cut a Target TV commercial. (The Eagles had a similar exclusive arrangement with Walmart for its “Long Road Out of Eden” and AC/DC and Guns n’ Roses have recently tied up similar arrangements with Best Buy for their respective album releases.)
Liam Gallagher and Pretty Green. Oasis front man Gallagher announced the launch of a new clothing line, Pretty Green, available at http://www.prettygreen.com/ The site lures fans with free exclusive content, including a movie and behind-the-scenes look at a Gallagher photo shoot. It’s rumored that the next Oasis single will be released free at the Pretty Green site.
Beatles Rock Band game. The long-awaited game from Harmonix / MTV Games and Apple Corps was unveiled in Los Angeles at the recent E3 , electronics and entertainment expo. The Rock Band game will launch this fall to coincide with the digital release of the entire Beatles’ back catalogue. The Beatles are the latest iconic music act to partner with a music gaming franchise to release their own branded game, following in the footsteps of Aerosmith & Metallica who have released games with Guitar Hero and with others from Hendrix and Van Halen rumored to be in development.
Artists partnering with brands and brands using music in their marketing is nothing new, but the neat thing about the ideas above is that they’re clear examples of where consumer brands are becoming business partners and revenue generators for artists (and vice versa) rather than just suppliers of exposure, and ad dollars and this is set to increase further with brands potentially being one of the commercial lifelines for the music and entertainment business.
The financial/commercial approach to the monetization of content and entertainment brands needs to be as innovative as any technological development we’ve seen over the last few years. The real “rock stars” of the business of music are going to be those who can create value and hard revenue from innovation, in whatever forms that takes. It might even be something that executives in the music industry can learn from their more rigorous consumer brand counterparts.
There is also a growing acknowledgement, that artists partnering with brands need to be able to deliver real tangible benefits and that these partnerships need to be based on a higher level of strategic thinking to ensure a good brand fit, relevance and benefit for the brands & the fans/consumers. If we get this right, these types of partnerships could become a longer term – more consistent play for the brands and a revenue generator for the brands and artists, rather than a glorified form of sponsorship or endorsement.
These and other key themes around brands, advertising and music were discussed and vigorously debated at the inaugural Billboard/Adweek 'Music in Advertising' conference which was packed with attendees from the music and brand worlds. This space is very definitely moving towards the top of the brand marketing worlds agendas as advertisers seek out new and different ways of emotionally engaging with consumers (fans) and artists and entertainment properties seek ways to monetize around their ‘brand’ and their content.
It seems that we truly are at the dawn of a new era. Opportunities abound at every corner. Music is more alive than ever, consumers listen to more music in more ways than ever thought possible, artists interact and build connections with fans in new and unique ways, music and other entertainment content can be delivered via multiple platforms for a fraction of the cost of traditional methods, and artists can form business relationships with many different partners—including consumer brands.
The opportunities for brands to partner with music in creative and commercially fruitful ways are endless. The only thing that limits them is our imaginations.
Thursday, June 18, 2009
Billboard/AdWeek Music and Advertising Conference
The Power Play: Connecting Brands And Bands
June 05, 2009 - Branding
Originally written by By Rachel Barnhard, N.Y.and published in Billboard
The connection between artists and brands, and the future of this relationship, was the focal point of “The Power of Connecting Brands and Bands” panel at Billboard and Adweek’s Music and Advertising Conference in New York.
Moderator Mike Tunnicliffe of Filament Entertainment/Tuna Music led participants in the discussion and all agreed that differentiation is the driving force behind the use of music in a branding campaign. The artist should go into the relationship with the ability to communicate how his or her music fits the brand and how it can make the brand stand out in the mind of the consumer. "You have to know your story, you have to be succinct and it has to create differentiating value," voiced David Keefe of Siegel & Gale.
If you are aware of this, you can also ensure that the sponsorship opportunities you pursue do not harm the connection with your fans: "[fans] welcome brands if they're getting something beneficial and worthwhile out of it," Tunnicliffe noted. And maintaining the fan relationship is key. "The reason people want to do things with Rihanna or Madonna is because of who their fans are," said panelist Larry Mills of Getty Images.
This prompted moderator Tunnicliffe to encourage panelists to move the case studies into a more realistic level, with less focus on pure celebrity endorsements. But, if brands are not solely using endorsements for the value of the celebrity of an artist, and if they're willing to take on less developed artists, are brands becoming the new record label?
Jack Horner, founder of FRUKT suggested that a vacuum has been created in the wake of record labels' slowing growth. "It's no surprise that so many brands are getting involved with talent competitions because [young artists want] an opportunity to get discovered." He continued by outlining new ways brands can play different parts of the record label role in an artist's career. For example, Joe Killian of Momentum Worldwide cited Denny's effort to bring in the late-night high school crowd by offering free food to local bands after their gigs. This used to be a service the labels provided in the form of a per-diem.
The panelists wrapped up with a discussion of the future of the industry. Mills imagined that we will see more promotions where a brand affiliates with a small group or genre of artists, and cited examples like Heineken, Jagermeister and Converse, which all worked with communities of artists rather than individual endorsements. Still, you cannot depend on advertising to sell your music. As Horner states, "You have to find other places where your music can play and work all of those outlets as creatively as you can," because you cannot control what happens on the cutting room floor.
June 05, 2009 - Branding
The connection between artists and brands, and the future of this relationship, was the focal point of “The Power of Connecting Brands and Bands” panel at Billboard and Adweek’s Music and Advertising Conference in New York.
Moderator Mike Tunnicliffe of Filament Entertainment/Tuna Music led participants in the discussion and all agreed that differentiation is the driving force behind the use of music in a branding campaign. The artist should go into the relationship with the ability to communicate how his or her music fits the brand and how it can make the brand stand out in the mind of the consumer. "You have to know your story, you have to be succinct and it has to create differentiating value," voiced David Keefe of Siegel & Gale.
If you are aware of this, you can also ensure that the sponsorship opportunities you pursue do not harm the connection with your fans: "[fans] welcome brands if they're getting something beneficial and worthwhile out of it," Tunnicliffe noted. And maintaining the fan relationship is key. "The reason people want to do things with Rihanna or Madonna is because of who their fans are," said panelist Larry Mills of Getty Images.
This prompted moderator Tunnicliffe to encourage panelists to move the case studies into a more realistic level, with less focus on pure celebrity endorsements. But, if brands are not solely using endorsements for the value of the celebrity of an artist, and if they're willing to take on less developed artists, are brands becoming the new record label?
Jack Horner, founder of FRUKT suggested that a vacuum has been created in the wake of record labels' slowing growth. "It's no surprise that so many brands are getting involved with talent competitions because [young artists want] an opportunity to get discovered." He continued by outlining new ways brands can play different parts of the record label role in an artist's career. For example, Joe Killian of Momentum Worldwide cited Denny's effort to bring in the late-night high school crowd by offering free food to local bands after their gigs. This used to be a service the labels provided in the form of a per-diem.
The panelists wrapped up with a discussion of the future of the industry. Mills imagined that we will see more promotions where a brand affiliates with a small group or genre of artists, and cited examples like Heineken, Jagermeister and Converse, which all worked with communities of artists rather than individual endorsements. Still, you cannot depend on advertising to sell your music. As Horner states, "You have to find other places where your music can play and work all of those outlets as creatively as you can," because you cannot control what happens on the cutting room floor.
Saturday, May 2, 2009
The Branding and Banding of Green
Originally published in Ad Week on 30th April 2009
The answer to that would seem to be "yes."
Brands and musicians are plowing their green furrows in increasing numbers. More and more marketers are developing their communications strategies to meet consumer demands for environmentally friendly products. "Eco friendliness" is growing exponentially in sectors including household cleaning, appliances, computing, automotive and food. But musicians only seem to come together with "green" brands outside the mainstream, and in low key or specialist ways.
As Billboard magazine's recent Green Issue reported, there's no slowdown in the number of artists embracing environmental issues. Some fairly mainstream and iconic musicians leading the charge include John Legend, Radiohead, Ludacris, Tommy Lee, Pharrell Williams and Feist, as well as more ecologically focused artists like Jack Johnson, Okkervil and Cake. These performers are among those driving the message home to their fans, leading by example. They're reducing their carbon footprint via biodegradable fuel in tour trucks, designing energy-efficient stage sets, running solar-powered recording studios and banning disposable water bottles at their performance venues.
Musicians are also encouraging fans to learn more and participate in socially responsible and cause-related behaviors. For example, Hanson's Take the Walk, which encourages fans to participate in a mile-long barefoot walk with them at each gig, raises awareness of poverty and AIDS in Africa. It also raises funds to send shoes to underprivileged kids there.
John Legend's Show Me Campaign encourages people to take individual action and, according to Billboard, has been a large part of his 2008 Evolver tour where fans can text in donations during the show and visit Show Me displays.
A number of environmental organizations have been tapping into the emotional engagement artists have with their fans. For example, Rock the Earth, which campaigns for and takes action on many environmental issues, has partnered with a number of high-profile artists including Alanis Morisette, Bon Jovi, Sheryl Crowe, Ozzy Osbourne and Tom Petty.
So with all this star power and influence, why aren't we seeing more partnerships with big marketers?
According to Shawn Kilmurray, executive director of Rock the Earth and a music industry veteran, it's not that brands aren't interested; it's that artists are wary of brands that greenwash -- meaning they talk the green talk to lure in consumers, but don't walk the walk. When the Sierra Club, for instance, endorsed Clorox's eco-friendly cleaning line -- and as result gets a share of the profits -- it suffered a backlash from some longtime supporters who thought the club had sold out. Kilmurray points out that artists are worried about losing credibility if they take dollars from unsuitable brands.
Anthony Ackenhoff, co-founder of global music branding and strategy company Frukt, also notes that while artists have got over the notion of selling out to brands, when it comes to their own beliefs and personal interests they're extra careful. Brands, he says, have to pass the sniff test and be able to stand up to scrutiny. If the artist and his or her fans smell a rat, then the artist -- and the brand -- could be damaged.
The stakes are high for all, but there is clearly an opportunity for brands that are genuine in their green/sustainability claims and performances. As the old saying goes, "He [or she] who dares, wins."
Mike Tunnicliffe is a partner at the Filament Entertainment Group. He can be reached at mike@miketunnicliffe.com.
Wednesday, March 18, 2009
Brand New Music Business
Originally published in AdWeek ; March 18th 2009
Quite possibly -- but that's not what we should focus on.
The real issue is that we're at the beginning of a new era. Music is more alive than ever, consumers are listening to more music than ever before, artists are interacting and building bonds with fans across multiple platforms, digital distribution is enabling artists to get their music out to fans for a fraction of the cost of traditional methods, and brands and other alternative marketing partners are being embraced as the new patrons of artists and music. So, yes, it may be the end of the traditional music business as we know it, but for those willing to embrace change it's the start of a brand new paradigm in the entertainment and brand-marketing worlds.
Last year saw the brand-music partnership space explode with never-before-seen collaborations between artists and brands. Highlights from 2008 include:
• The world's largest consumer brands company formed a record label: Procter & Gamble/Def Jam's Tag Records, to help break new urban acts through its advertising.
• Bacardi partnered with British Dance Act, Groove Armada, to build a global marketing strategy based around music.
• Red Bull and Levi's set up labels and studios to help create and break new music.
• MTV Networks' Rock Band franchise sold more downloads than many digital online stores.
A number of new business models and players also emerged, including promoter Live Nation, which signed a series of mega-global stars away from their traditional labels into new deals that have the concert promoter and artist partnering across multiple revenue streams (known as "360 deals"), of which sponsorships and partnerships with brands will be a key source of revenue. Artists included Madonna, Nickelback, Jay Z, Shakira and U2, which signed a slightly less encompassing "270 deal."
The old notion of "selling out" is long gone. Let's face facts, the music and entertainment industries have something that brands want and vice versa. Put simply: Brands offer artists opportunities for exposure and marketing dollars that simply don't exist anymore in traditional music companies. And brands want to tap into those ever-elusive emotional engagements with consumers (fans) that artists seem to have in buckets.
Fans themselves are endorsing the notion that brands are going to be central to the new music economy and ecosystem. A recent survey by Bauer Media in the U.K. showed that 69 percent of those classified as "most passionate" about music thought that brands being involved with music and artists was a good thing.
Another recent survey, from music-branding company Heartbeats International, polled senior brand marketers and found that seven out of 10 marketers see music becoming an increasing part of their tool set going forward. Usage ranges from enhancing TV commercials and other forms of promotional content, to artists collaborations, music in products and the development of a "brand sound" -- a whole other area with massive growth potential for agencies and "sonic branding" specialists.
As often happens in times of economic downturn, new opportunities arise for those willing to flout convention and look forward rather than backward.
So gazing into my crystal ball, what sort of things might we see happening this year? In broad terms the trend will continue of artists increasingly seeking new business partners and associations away from traditional music companies. More specifically:
• A major artist will almost certainly "sign" with a brand to make their new album and content available exclusively through the brands online- and product-distribution networks. Imagine, for example, something like MyCoke Music. Com partnering with The Foo Fighters. The Foo Fighters' legion of fans would then be interacting and engaging with Coke to get access to their favorite band and the artist will have massive promotional support that's just not available from traditional music companies.
• A new breed of very nimble, rapidly evolving music and entertainment companies will emerge to take advantage of the growing number of digital pipelines and increase in branding and partnerships. A combination of ad agency, content owner, talent agency and technology company, perhaps?
• Some of the new players will emerge as leading aggregators of musical content. As the financial pressure continues to mount on traditional music companies, a number of assets will change hands, fueled by investment money that will be increasingly looking for a home in businesses that can be turned around, if leveraged in new and different ways.
• A major smash hit record will break after partnering with a brand and being featured as the brand's signature tune across multiple platforms. A No. 1 hit single courtesy of Pantene shampoo, perhaps?
Whether these particular predictions come true or not, we'll have to see. But what I can predict with some certainty is that we will see some never before thought possible business models, partnerships and collaborations involving music and brands.
Mike Tunnicliffe is a partner at the Filament Entertainment Group. He can be reached at mike@miketunnicliffe.com.
Sunday, March 1, 2009
Tunnicliffe On Tour
Posted by Mike Tunnicliffe on Sunday March 1st 2009 at 10.00PM
Well I'm certainly feeling like I'm on a non stop roadshow.
I'm backwards and forwards to LA on a bi weekly basis , as I join my partners in the most exciting venture to hit the music, branding , technology and entertainment scene for some while Filament Entertainment Group. More details will be brought over the coming weeks , but in the meanwhile check out our website .
Speaking engagements are flooding in like crazy :
Posted by Mike Tunnicliffe on Sunday March 1st 2009 at 10.00PM
Well I'm certainly feeling like I'm on a non stop roadshow.
I'm backwards and forwards to LA on a bi weekly basis , as I join my partners in the most exciting venture to hit the music, branding , technology and entertainment scene for some while Filament Entertainment Group. More details will be brought over the coming weeks , but in the meanwhile check out our website .
Speaking engagements are flooding in like crazy :
- Last week saw me join the panel of experts at the Digital Music Forum East in New York to tackle the pro's & con's of 360 deals
- Austin Texas beckons on March 18th where I'll be running a session on fans & brands at The Band Bootcamp sessions , which are being produced by Music Supervisor. Com at South X South West
- On to Santa Monica on May 6th to appear at Digital Hollywood's Music 2.0 panel - Re-Invention of an Industry Music Power Shift: Artist, Label, Technology, Management & more
- Europe beckons in early June , when I take part in the inaugural Brands in Entertainment conference in Barcelona
Do Those Rascal Flatts Come in a Size 7?
Mutual Brand Benefits Cited as JCPenney and Band Get Back to 'Their Roots'
Multi-platinum country rock act Rascal Flatts is working with JCPenney for a broad marketing and promotional deal, which includes in-store promotion, tour support, merch and TV ads.
The deal kicks off with the April 7 release of the band's new album "Unstoppable" and, according to Billboard.biz, will continue for at least two years, with an option to extend it for more. The deal ties together Rascal Flatts with JCPenney's American Living range of clothes and other household items, which, when launched last year in conjunction with Ralph Lauren, was billed as the biggest merchandising launch in the department store's 105-year history. The original campaign featured a beautiful spot set to Robert Plant and Alison Krauss' "Killing the Blues," which we dubbed one of the year's best ad songs.
This partnership is a continuation of JCPenney's well-executed -- and well-timed -- return to its roots as a retailer serving Middle America with value-priced goods. as SFS pointed out last fall, the appeal of country artists has been growing as the recession has been biting harder, and the country music audience has remained slap-bang in the middle of America, claiming nearly 55% of women and 45% of men.
This partnership seems to hit the spot not only for JCPenney, but also for Rascal Flatts, whose co-manager Doug Nichols told Billboard, "We feel that JCPenney is a partner that can grow our brand and we fully intend to help them grow their brand." About this time last year, the Rascal Flatts was promoting the new Rubix Cube.
The band wrote a track, "American Living," which will serve as the soundtrack for the first TV commercial and will be available on a special version of the "Unstoppable" CD sold only at JCPenney stores. The net proceeds from the sale of the album will be going to JCPenney Afterschool, which provides children in need with access to after-school programs.
JCPenney will also follow band members Jay DeMarcus, Gary LeVox and Joe Don Rooney on tour as they wear the clothing on-stage, and their TV spot and behind-the-scenes footage will run on two large screens during concerts. Fans will be able to purchase American Living-branded tour merch, and the band's 18 tour buses will be splashed with the brand.
All in all, a deep collaboration that hits the spot on a number of counts: It's a good brand fit between the retailer and the act, the band gets great exposure from the collaboration, JC Penney gets a totally relevant multi-platform integrated endorsement from a band that mirrors its values, and, most importantly, fans/consumers get a stack of added-value content, merchandise and connections.
~ ~ ~
Mike Tunnicliffe is founder of NY based Tuna Music LLC & a partner at LA based Filament Entertainment
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