sandboxMUSIC MARKETING FOR THE DIGITAL ERA JULY 30 2014

ISSUE 114

05 Tools Audiosocket 06-07 Campaigns Selfie, Iggy Azalea,

Damon Albarn, Garth Brooks 08-11 Behind The Campaign Romeo Santos

tag team Shazam’s marketing prowess

2 | sandbox | ISSUE 114 | 30.07.14

COVERFEATURE

If you want an example of how big Shazam has become you can look beyond its 93m monthly active users

and 475m total userbase to the simple fact that – much like Hoover before it and Google now – the company’s name has entered the lexicon as a popular verb. In fact, in 2014 the idea of saying anything other than “I’ll Shazam that” when using your mobile to identify an unknown track sounds faintly ludicrous.

For labels, too, Shazam has become incredibly important, largely driven by the popularity of its charts, which are a key point of reference for media partners.

Radio 1’s head of music George Ergatoudis even told Record Of The Day earlier this year that Shazam was “the most reliable new data source of recent times” in the market. “It’s a genuinely useful measure of audience passion and we trust the data at the top end of the chart as the user numbers are now in the multiple thousands,” he added.

Beyond the tag: getting the most out of Shazam in marketing

No wonder, then, that labels are so keen to drive Shazam tags and appear on the service’s various run downs. But the

TAG TEAM: Shazam’s marketing prowess

Shazam is much more than just a way of identifying tracks and maybe clicking through to purchase them. As it has evolved from a service using a 2580 shortcode a decade ago into a highly flexible smartphone app, how it works with artists and labels has come on in leaps and bounds. Advertising is one component and editorial and competitions offer increasingly powerful strings to its bow. But it is in dissecting and harnessing Big Data that it is really coming into its own – a fact only underscored by the recent move by Warner Music to use it as a real-time A&R tool.

flip side to this devotion is that labels and musicians may be missing out on other ways in which Shazam can be used for promotion.

With this in mind, we spoke to Will Mills, Shazam’s VP of music & content, to find out how labels, artists and managers can work with Shazam to promote their music in 2014 and beyond.

The most obvious point – and, to be fair, something labels have already largely cottoned onto – is plain old advertising. Shazam ads can be as simple as a clickable banner or as involved as a Listening Screen Takeover, an initiative launched in 2010 that allows advertisers to “own” the Shazam listening screen while a song is being identified. When the tag result is then displayed on the next screen, the advert becomes an expandable, interactive banner.

“Shazam is a logical place to promote your music, to target people who have Shazamed your artist but also [to serve up] similar sounding acts,” Mills says.On the one hand, Mills explains that a large percentage of people who have Shazamed your music will be new fans and therefore very important to reach out to. But Shazam advertising can also be used to target similar sounding, and typically more successful, acts.

“We have labels coming in who have got a budget and a lot of the time they are targeting banners around similar acts,” Mills adds. “For example, a lot of rock bands want to target their ads around the 1975 [and other rock] bands that have broken.” Shazam also offers off-network targeting on Facebook, so if a Shazam user connects their account

to the social network, the company can service adverts through Facebook.

The growing power of editorial

Shazam is also increasingly creating its own editorial content, following the launch of a redesigned app in February with News Feed. At the time, the company said the idea was to make Shazam “the beginning of the journey, not the end – whether people are interested in music, TV shows or brands”, essentially encouraging users to spend more time in the app, rather than just quickly using it to identify songs.

“We want to be an app that people open a lot more,” adds Mills. “You know that when you open Shazam there will be something interesting and relevant for you.”

On a musical level, editorial changes include the addition of song lyrics when tracks are identified as well as improved biographies and discographies. More

importantly, the redesign offered “direct access to the music video and additional videos related to a song”. Label partnerships

Shazam has already premiered videos for both Chromeo’s ‘Come Alive’ and Wiz Khalifa’s ‘We Dem Boyz’ as part of a wider strategic alliance with Warner Music Group that included the launch of a Shazam-branded label and a “highly integrated” marketing relationship (see box).

The mention of “additional videos” should not be overlooked, however; these editorial changes means Shazam now needs its own unique video content – and labels and artists are in the perfect position to provide it.

This content can take a number of forms, from footage of Nico & Vinz performing at the company’s offices in New York and London to Ed Sheeran filming an exclusive video message for Shazam users, to take two recent

COVERFEATURE

3 | sandbox | ISSUE 114 | 30.07.14

examples. Warner, meanwhile, has promised to provide Shazam “with exclusive content and other benefits to augment the user experience”.

“This area of the business has ramped substantially with Shazam Sessions from Clean Bandit, George Ezra, Magic, Nico & Vinz, Rixton and Passenger in the last few months alone,” Mills says. “Plus there are exclusive video interviews from artists such as Ed Sheeran, Charli XCX, Jamie N Commons and many more.”

For Shazam, this content will entice users to spend longer in the app. For labels, it means additional exposure for artists among the thousands of people who have Shazamed their songs, driving awareness, downloads and streams. What’s more, the fact that this initiative is relatively recent means that Shazam is open to new ideas.

“If you are a new artist with a compelling piece of content, we can push that out to people who have Shazamed your music,” says Mills. “It is a very new, fluid space. We are open to ideas if they are interesting.”

Promotions and competitions

Competitions are another intriguing way that labels can use Shazam to promote their artists, Mills explains. “These [competitions] have been very popular with Shazam to win such experiences as flying to New York to meet Ellie Goulding, partying with Pitbull in Vegas on NYE, to more esoteric prizes, such as winning the deformed arm prop from a Franz Ferdinand video,” he says.

“Content-based promotions such as offering a free remix or DJ mix also work well, with Rudimental, Chris Malinchak and Goldfish’s Organic House being

recent examples of that.”Competitions can even extend to

serious data-based initiatives that shape the artist’s promotional schedule, as was the case with a recent Demi Lovato promotion. In this, fans were encouraged to tag the singer’s Neon Lights single, with the data from these tags helping to determine which cities Lovato played on her European tour. Big data and driving sales as well as repeated streams

It is an example that not only shows how a Shazam promotion can work for musical stars (as well as the upfront dance and hip-hop acts that the service

COVERFEATURE

downloads decline and streams become an ever-more-important, not to mention chart-worthy, part of the recorded music business.

This could make things rather more complicated. Shazam has click-to-buy links with iTunes and Amazon within its app, meaning the conversion from tagging a song to monetising it is very simple (i.e. tag and buy). But streaming music is less about one simple purchase decision and more to do with consumers returning time and again to a song (effectively tag and stream and stream and stream again).

Shazam has number of streaming partners in place, depending on the territory (Deezer and Rdio in the UK), and recently agreed a partnership with Rdio that allows full-song playback within its app (previously users could tap a button to play a song within the relevant streaming service’s app). Mills doesn’t say it but the press release announcing the Rdio deal earlier this month referred to “full song playback, currently powered by Rdio”, leaving the door open to other in-app streaming partners – an intriguing thought for the future.

“Streaming used to be primarily about discovery, but now is obviously more important directly to monetisation and, of course, chart placings in various territories,” Mills concludes. “Most marketing with us is still focused on à la carte as the multiple of streams you need to equal one download are large. However, for breaking artists and new songs, things could shift for sure towards this in the future.” :)

In February Warner Music announced plans for a Shazam-branded label within WMG and “enhanced marketing” for Warner acts. Shazam CEO Rich Riley called the deal a “next-generation partnership”, hinting at the directions in which the collaboration could go. “Every minute of the day, people around the world Shazam over 10,000 songs, giving us incredible insight into what songs are trending and allowing us to discover future hits. Combining Shazam’s proprietary data with WMG’s A&R expertise will yield fantastic results,” he said.

“We are also eager to use our deep data and advanced promotional solutions combined with exclusive content from WMG to help artists engage with their fans and sell more music.” As well as the Chromeo and Wiz Kalifa video premieres mentioned above, Bruno Mars was one of the first Warner acts to benefit from Shazam’s marketing nous. Fans who Shazamed Mars during his appearance at the 2014 Super Bowl Halftime show were offered an exclusive video from the artist “to expand Bruno’s engagement with his fans”.

4 | sandbox | ISSUE 114 | 30.07.14

WARNER MUSIC GROUP AND SHAZAM

is typically associated with); it also illustrates the importance of Shazam data for the promotional process (A&R too, although that’s a whole different story).

Data can, of course, come from hundreds of different sources in the digital music sphere but – in collecting data from people who have actively reached for their phones in response to a tune – Shazam can pretty much guarantee that its numbers comes from engaged music fans as opposed to those who might casually follow an artist on Twitter.

“Getting your phone out to Shazam a song is a very unique data point and one that shows a higher level of engagement than, say, a web click,” says Mills. “To be able, as a marketer, to reach people who’ve actively done this to engage with your artist music is highly valuable to maximise a digital marketing budget.”

This use of data, then, is likely to play a role in Shazam’s future as a marketing partner for labels. Also set to change in the near future is the connection between Shazam, streaming services and labels, as

5 | sandbox | ISSUE 114 | 30.07.14

TOOLS AUDIOSOCKETDecember and Audiosocket is now approaching interested parties to take part in a beta program. Once complete, they hope to launch this platform to the public by the end of Q1 next year.

There also needs to be work done in partnership with platforms’ DMCA systems such as Content ID to join up to create a full system – a hybrid of both. For example, someone singing a cover of a track and uploading it to YouTube would not be tracked by LicenseID. And YouTube still needs to have clearer guidelines on what happens to those millions of UG videos.

But why would the likes of YouTube invest more funds into rights protection when they feel they already do more than is required by law? Any effort in this direction helps their relationship with rights owners – many of whom are currently dissatisfied and looking at alternatives. It may also increase the perceived quality of their advertising products. As for iTunes and the others? Platforms selling downloads should benefit from tighter controls over the transfer of illegal content. The same could be said about streaming platforms who cannot offer UGC to their users.

The pilot program is a free trial for three months while Audiosocket tests and builds up the platform – which currently has 110 music catalogues and 600k tracks. For more info, contact: lid@audiosocket.com :)

Rights infringements have been a bugbear of the music industry for a long time. The launch of LicenseID by Audiosocket could be an interesting new tool to ease the process of licensing tracks while tracking and flagging any abuse or misuse.

Audiosocket is a licensing company with headquarters in Seattle and New Orleans and its core business is offering a search-friendly catalogue of pre-cleared music from emerging artists and selling small-to-medium-scale licences for instant use (everything outside of TV and big ad syncs). Being in the business of licensing, it has often found that the wrong type of licence is used (knowingly or not). Users might purchase a cheap personal licence and use it for online advertising campaigns; or the reverse could happen whereby a licensee could find a claim made against their YouTube videos that contained a rightfully cleared track.

Audiosocket sought to find a way of embedding licensing information into a song that could not be stripped or changed – like metadata often can be. Hence the birth of LicenseID – a software that allows information to be embedded in a WAV form so that it cannot be removed, just like a drum track. Upon every download from the system the track has the licensor, the licensee and the licence information (type of licence, duration of licence, nature of

use, geography etc.) ingrained into the track.

This makes a licence both trackable and digitally authenticated. If it is misused, the licensee can be contacted and asked to upgrade by paying the right amount for its use. Audiosocket believes many of these misuses are due to a lack of awareness about copyrights, so they have not been issuing penalties or slapping wrists. When tested for a few months on their own catalogue they found 10% of their web licences were misused to the value of $200k in infringements. However, once the infringers were contacted and asked to upgrade, 75% of them did so within 30 days.

This is a very exciting new piece of software but the keen-eyed will spot lots of gaps. Firstly how does Audiosocket have information about the licensee? To download a demo of the track, a user needs to create an account and provide basic information. How about if the track was sent to a user by someone else? The person who sent it would be tracked. What if a user got it from another source such as buying the track on iTunes or illegally downloading it?

Looking to the future, the vision would be for LicenseID to be used across as many platforms as possible: iTunes, SoundCloud, YouTube and so on. In addition, the basic information should be embedded at the point when a producer delivers the master track to the rightsowner – a type of “copyright birthmark”. All this information could then be stored in a library in the cloud and if information was changed those changes would be tracked.

Audiosocket is also speaking to partners so that this not only is tracked online but also across broadcasting channels. This could then mean that LicenseID could help PROs gather cue sheets.

There are many possible applications, but what is happening right now? The internal test pilot was launched last

6 | sandbox | ISSUE 114 | 30.07.14

The latest projects from the digital marketing arena CAMPAIGNS

The digital times in which we live are awash with YOLOs, hashtags and LOLs so it’s somewhat inevitable that some of these neologisms will slip free of the internet and enter the actual world. So now behold Selfie the album – it’s real and it’s coming out on 24th August. Throw your ironic trucker cap in the air in celebration/run to the hills screaming in despair for humanity [delete as applicable].

The compilation album includes songs by Swedish House Mafia, Disclosure and, of course, The Chainsmokers’ title track that ultimately inspired it all.The album is accompanied by a marketing campaign that takes advantage of the collective narcissism that is currently smeared across social media profiles. By taking a selfie and posting it on Twitter or Instagram with the hashtag #selfiethealbum, the best 100 photos have the chance to appear on the album cover. The competition is open until 17th August and has a dedicated website that was created in

partnerships with We Make Awesome Sh and its AwesomeWall.When Sandbox talked to Nick Moxham, head of digital at Universal Music TV, last week, the marketing was yet to really kick off, but initial numbers showed a 32% conversion rate on the

app and a 3.1% conversion rate to retail.With the growth of streaming services, playlists are increasingly seen as a new album format (or, depending on who you speak to, the new radio) as well as being essential in music discovery. Moxham says, however, that these compilations albums have an important curation role in today’s music landscape, especially for casual music fans. “The compilations market is in growth unlike much of the rest of the music market,” he says. “Their strength is their ability to help casual music fans make sense of the vast catalogues on the digital services – from a new music discovery perspective as well as a deeper catalogue perspective.”

Now we only have to wait for the amazing Songs To Twerk To compilation – but first let us take that selfie…

Iggy Azalea’s new single, ‘Black Widow’ (featuring Rita Ora), is at the centre of a new fan-generated lyric video contest. To enter the competition, fans will have to include one line of the lyrics from the single and either design an image or simply take a snapshot of themselves and tweet the results to Azalea’s management company, Turn First Artists. The competition is open for entries until 4th August.

The initial post has had high engagement compared to Iggy’s other posts on the platform, with 569 shares and almost 35,000 likes on Facebook.Lyric videos are a relatively low-cost but effective way of raising awareness

around a new single – and usage of them has grown extensively, either as a track’s main video or as a “holding” video to spark up viral interest ahead of the big budget video. Creating a competition with fan engagement can also help generate momentum around a single release. This competition is, however, not connected to raising Iggy’s artist profile on Twitter as the posts are being sent directly to her management company and no dedicated hashtag exists. Perhaps it opens a gateway for introducing other artists from the management company to Iggy’s existing fanbase. The single itself will most likely enter at a high chart position as previous single ‘Fancy’ which reached #1 on the Billboard

Hot 100 and stayed there for seven consecutive weeks. Azalea is also nominated for seven MTV Music Awards and is set to host the MTV House Of Style show from August.

SELFIE THE ALBUM IS ACTUALLY HAPPENING IGGY AZALEA’S ‘BLACK WIDOW’ FOR FAN LYRIC COMPETITION

7 | sandbox | ISSUE 114 | 30.07.14

The latest projects from the digital marketing arena CAMPAIGNS

Damon Albarn has released a dedicated web app that collates and aggregates content around his Everyday Robots solo album. The dedicated website, everydayrobotsapp.com, is available on mobile, tablet and web and it combines all the content around the album in a grid-based interface that allows the user to explore the content easily by clicking on a section. The randomised grid system includes a variety of song lyrics, album reviews, interviews and live performances. For the superfan as well as the casual fan, the interface is easy to understand and offers a quicker way to access content around the Everyday Robots album.

“The idea of the grid UI came from wishing to create ‘serendipity’ for the user, or an ‘explorer’ concept, for them to be able to scroll around the grid – beyond the visible view – and discover content in different categorisations but not necessarily in a linear narrative,” says Josh Saunders, head of technical & creative (UK digital) at Warner Music.

Within just a few days, the site has gained tens of thousands of unique visitors with a dwell-time of five minutes or more. The web app provides an opportunity to build a closer relationship with fans without any direct interaction needed – as well as offering specialised and attractive content to them. With all the various platforms currently available it can be difficult for fans to keep up on all the information; therefore platforms like this can offer a way to explore in-depth content as well as keeping data and traffic targeted towards one site.

After a recent standoff with Dublin City Council over what were supposed to be his comeback gigs (rather than reduce his Irish shows from five to three, he cancelled them all), country singer Garth Brooks is finally breaking his digital embargo by making his new album and catalogue available online. Streaming services and giant retailers like iTunes are, however, still being left out as his music will be available exclusively on garthbrooks.com in the coming weeks.

After famous digital holdouts The Beatles and AC/DC finally sealed their iTunes deals back in, respectively, 2010 and 2012, Brooks is finally following suit – but on his own terms. As more users, even the older

demographic, get used to digital formats, artists must adapt to consumer needs and expectations. D2C platforms have, however, become increasingly popular as musicians are taking more artistic control as well as valuing the direct contact with fans.

Given Brooks’ massive popularity, this move is sure to keep both the young and older demographics happy and will most likely drive more traffic directly to his website. It remains to be seen if he will eventually give in and license to third-party streaming and download services.

EVERYDAY ROBOTS GETS A DEDICATED WEB APP GARTH BROOKS IS GOING DIGITAL – ALONE

BEHIND THE CAMPAIGN Romeo Santos

BEHIND THE CAMPAIGNROMEO SANTOS

Establishing him as a solo actRomeo Santos was the lead singer of

a very popular band called Aventura. They are the group that broke bachata ¬– the genre from the Dominican Republic – globally. He then became a solo act and released the Formula Vol. 1 album on Sony in 2011, which was very successful. The expectation for Formula Vol. 2 was huge because the numbers we had from the previous one were amazing.

Prioritising his social channels and striking a balance between sales posts and organic posts

YouTube has played a big role in his success. The video for ‘Propuesta Indecente’ has 350m views after 10 months. That was the first thing we did for this album.

There were lots of people sharing the video. He has a huge social media reach. He has 23.6m likes on Facebook and 2.3m followers on Twitter. Instagram is becoming very important in the US – not just for Romeo but also for all of our artists. We try to show [pictures of] his face on there as much as we can [as that is what fans react to best], but we might only do one post a day or a couple of posts a week. The network where he is most active is Facebook.

He is not very active on Twitter – it’s more about announcing stuff there – but he now has 2.3m followers. We share management of his social channels [with him] but we can post anything without his approval.

For us it wasn’t just about Facebook; it was about the whole social media landscape. We are selective about what content we post. Because we have so

9 | sandbox | ISSUE 114 | 30.07.14

Romeo Santos was a founding member of bachata group Aventura in 1994 and released his first solo album, Formula Vol. 1, in 2011. His second album, Formula Vol. 2, was released in February this year and quickly surpassed sales of his debut. Here JUAN PAZ, senior director of digital strategy & marketing at Sony Music Entertainment (US Latin), explains why YouTube and Instagram have proven to be his most powerful outlets and how a tightly packed Digital Day across a variety of platforms resulted in the biggest selling Latin album since 2006.

10 | sandbox | ISSUE 114 | 30.07.14

many digital accounts – Google, Spotify, iTunes, Vevo and so on – we don’t want it to be pushy messages like “Listen to my single here” or “Download my album here”.

On Twitter we did a tweet-to-unlock campaign to reveal all the collaborators – like Nicki Minaj, Drake, Marc Anthony and Tego Calderón – who were on the album as well as revealing the album name and artwork. There were 86k interactions within the first three hours of the campaign. We also trended globally on Twitter. We created a planning spreadsheet to make sure we had a good balance between organic posts and sales-related posts. We tried to favour the organic posts over the sales posts as we know the sales posts are not as engaging as the organic ones.

Defining his key marketsWe concentrated on the Latino

markets in the US – New York, Florida, California, Chicago and a little bit of Texas.

It is more East Coast than West Coast as that is where [most of] his fans are. In Latin America we try and coordinate with all the different countries in the region – Mexico, Colombia, Argentina, Chile – the places where bachata is becoming popular. But the bulk of the campaign was in the US.It was the best selling Latin album in the US in the past eight years. He recently got four platinum discs here for 400k sales.

He is very active in the US and there is a lot happening here. He is now crossing over in other countries. He recently played in Madrid to 30k fans and has also played in the UK and Italy. He is a Latin artist who is crossing over very fast.

We knew we had a global superstar

and we had to please fans everywhere. That is the beauty of digital. No matter where you are, you can have people engaging from multiple countries.

His album was #1 on the Latin chart in its first week with 84k sales and went into the top 5 overall album chart on release week. It was the biggest Latin release since 2006. His debut album sold well but this one has surpassed that.

Determining the digital sales and streaming partners

In the US, iTunes is the main digital partner but also Spotify played an important part in the campaign. We wanted to maximise Google Play as we know the bulk of Romeo’s fans are on Android. Knowing we had such a big Android-driven fanbase meant we had to work together with Google. With Google

we tried to make it very visible so that when you were clicking from an Android device you were being directed to Google Play and if you were clicking from an iOS device you were being sent directly to iTunes.

In our advertising campaign we put a lot of effort into driving people to the Google Play store. He reached #2 in the overall chart on Google Play. One of our objectives in this campaign was to increase the visibility of Google Play for Android users. Google Play was the second account for us after iTunes.

Historically in a Latin music release, physical sales are very important. But in this case, this was one of the first projects

BEHIND THE CAMPAIGNROMEO SANTOS

2.3m Twitter

followers

23.6m Facebook Likes

803k Instagram followers

STATS

11 | sandbox | ISSUE 114 | 30.07.14

BEHIND THE CAMPAIGNROMEO SANTOS

where we had a 50/50 split in the first week between digital and physical. For a Latin release, that is not the usual case. It shows how this market is evolving into a very digitally driven one. Typically a Latin release would be 70% physical and 30% digital for the first week. This shows a change in the consumption patterns in the wider Latin music market and we think this indicates the way other Latin releases will go from now on.

Attracting new fans via The Golden Crown competition and a dedicated Digital Day

The Golden Crown was a strategy to capture information from CD buyers. We had an insert with the CDs and fans could enter an online competition. The prize was to come to a party he was hosting in Miami and meet him. We also gave away Sony headphones and signed memorabilia. We managed to get 10k emails out of this campaign.

Instead of setting up a press junket and having him in front of journalists, we decided we would connect him to his fans directly. So we came up with the idea of a Digital Day where he was in a suite in Manhattan and we did takeovers with different media outlets and digital partners. We did one every hour for nine hours. We had activities with Vevo, Google, People En Español [the Spanish language version of People magazine], Terra [a major Latin network] and a Soundrop chat on Spotify.

He sat for nine hours in front of a computer answering questions from fans. Having this one-to-one interaction for a major artist is rare. They don’t have the ability to talk to fans very often.

We had 700k interactions between comments, retweets and so on. There were close to 30m impressions. That’s huge for nine hours of activity. He also did a 30-minute Google Hangout and we managed to get 13,000 viewers from 67 countries.

The way we planned the day was all about maximising exposure. We put the agenda together based on how big each partner’s social footprint was and knowing that it made sense for his audience.

To promote it, we built a dedicated website that had his schedule for the day and all the interactions from fans were fed there automatically. The main driver was from social media. He announced the different partnerships as they were happening on his Facebook, Twitter and Instagram. All the partners on the day played their role in promoting it.

When we did the Digital Day we captured a lot of new fans. There were over 300k new fans on Facebook, Twitter and Instagram just during the day, all from people looking at what was happening and just liking it. :)

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

12 | sandbox | ISSUE 113 | 16.07.14

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 on nikoo@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 on karim@musically.com If you’d like to subscribe, add new subscribers, or talk about a corporate deal please contact Anthony Churchman on anthony@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.