I began writing an ‘amusing’ article last night, it was to combine my twin passions for music and search marketing. It was to be entitled ’20 band or artist names that are impossible to Google’.
I figured this would be ripe for hilarity and also an interesting look into what new bands and artists need to consider when trying to market themselves online.
After all we live in a ‘digital first’ world where bands like Chvrches specifically spell their name wrong so they can be searched more easily and Owen Pallet dropped his Final Fantasy pseudonym in order to drive more traffic to his site instead of the computer game franchise.
I was wrong.
Facebook provides an unparalleled amount of real-time, accurate user data. With Facebook, marketers can be flies on the wall, quietly and unobtrusively gaining insight into their consumers by observing the details they share about their lives.
It is the world’s largest unfiltered focus group for brands to listen to, and it’s arguably the richest CRM database for marketers to take advantage of.
Consumers provide large amounts of data through their Facebook activities, enabling marketers to access far more information about who they are than a survey or poll might reveal. And, thanks to the high-frequency of consumer activity on Facebook, all of this wonderfully rich data is consistently kept up to date.
Best of all, the accessibility of consumer data on Facebook means that marketers can utilize it without interfering in their consumers’ lives.
This weekend sees the first ever YouTube Video Music Awards streamed online. In many ways, it’s like a lot of other music awards: there’s glitz, there’s glamour, and there’s Lady Gaga, One Direction and Rihanna (though Cher’s invite is presumably still in the post…).
However, the YouTube awards are different in one major way. Any videos shared across Facebook, Twitter or Google+ since September 2012 contribute to deciding the winner, alongside user votes.
Just over a year ago, in August 2012, Nielsen revealed some research that revealed YouTube as the number one music discovery source for under 18s – a figure that can only have grown in the past 12 months. Arguably, this makes these awards the most relevant of all.
According to Juniper Research’s latest report, they forecast that over 160bn apps will be downloaded globally onto smartphones and tablets in 2017.
Although the UK is the most expensive country in the world to drive app downloads, with 58% of the country owning a smartphone and 19% owning a tablet, the UK represents a lucrative territory to crack now and increasingly so in the next four to five years.
Here we’ll take another look at InMobi’s App Insight Report, released last week, and reveal some key insight and advice on how your company can best drive app downloads on mobile and tablet.
Using any music in one’s work is often a headache if one is unsure of the ins and outs of licensing.
Epidemic Sound aims to simplify the process with its users paying one fee to access a whole bunch of music to use in their work.
We caught up with CEO, Oscar Höglund to ask him more about the service.
The global music streaming giant Spotify made £370m in revenue for 2012 with increases in both users and advertisers.
Spotify has a selection of ten main advert formats. Some are interruptive, others arrive during extended terms of no-use of the application, and some are clickable.
These ad formats will suit various types of businesses. The high-end or in need of last-second promotion (movie studios, album launches) will enjoy the light boxes and homepage takeovers, while small businesses with low budgets may prosper with trendy playlists.
This post details the five most commonly selected advert formats, with my own quick survey (via SurveyMonkey) of 100 people providing opinion as to which works best.
Take a look and which your brand could be using.
Our Internet Statistics Compendium has seen another bumper update this month, with an impressive swathe of data focusing on the internet landscape in Australia.
The latest report released by the ARC Centre of Excellence for Creative Industries and Innovation (CCi) gives a comprehensive overview into how the internet has become integral to Australians as a social tool, a shopping platform and an entertainment channel since 2007.
Yet, it is the report’s insight into audio and video trends which are some of the most interesting, with online perhaps not eating into consumption habits of traditional media as much as we might expect. Be sure to check out the Australia and New Zealand edition of our ISC for more from the region.
The other day I eavesdropped as a pretty girl faced the teenage boy seated across from her and sang, “Tonight / We are young / So let’s set the world on fire”.
Frustrated by his blank stare, she said, “Don’t you know the song? It’s from that Chevy commercial”.
If that example doesn’t convince you of the power of music and marketing, nothing will.
There is little doubt that digital is the future of music. The CD may not be dead, but it might as well be.
Its replacement for millions of consumers has been digital music services of various kinds, ranging iTunes and the Amazon MP3 Store to Pandora and Spotify.
If you're a consumer, finding a buying your favorite tunes is as easy as opening up iTunes or heading over to Amazon.com or Google Play.
But where do you go if your business is in search of the perfect song for a presentation, corporate video or trade show event?