How Coachella use Digital Marketing

Coachella Valley Music and Arts Festival, is an annual music and art festival held in California, America. With an $84.26 million sales revenue and 198,000 attendees, Coachella is the leading music festival for sales in the world, making it an ideal platform to test innovative digital marketing campaigns, as it has such a wide coverage of users, as well as having a credible reputation too (McIntyre, 2015).  Coachella is well known for being the front runner of music marketing and innovation ever since its inception in 1999.

A huge part of the festivals success is down to Coachella’s ability to connect with its loyal fan base and customers through various social media (Tumblr, Instagram, Google+, Twitter, Facebook, YouTube, Spotify, Pinterest and Reddit pages all support promotion of the festival reaching attendees as well as those who were not on location) and mobile. Their high quality use of multiple channels is key for their success (with the multiple channels shown on their website), meaning they can reach a broad spectrum of people with social preferences, added with the personal feel that customers can add their own words/pictures, meaning that word of mouth can ensue as well (Ingenex,2013).

A highly used social platform for Coachella (and probably there most recognised one) is there Instagram page, which really brings the festival and customers together in a successful manner, this is highlighted in the fact that they have over 680,000 Instagram followers, as shown below (Coachella, 2016), its a great tool. because its majority users of 18-34 year olds, really fit in with the festival age demographic as well, meaning they can market to meet there target market (Faughnder, 2015). Instagram pages however have its drawbacks, meaning they cant just rely on it, it is a tool used only for pictures, meaning written festival information cannot be used, it also excludes Windows Mobile, Blackberry or Linux users, meaning that other social media platforms must be used to bridge these gaps (Soffar, 2015).

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They also incorporate smartphones by creating apps, giving official information to festivals such as line-ups, maps etc. In 2015, the festival updated its app with new features such as friend finder (search for people you know at the event), social media integration, schedule maker and push notifications (Jaekel, 2016). The downside of this however is that non-smartphones will feel alienated and like there missing out, which may not reflect favorably in there views of the festival.

A key method that Coachella use is YouTube, they use this channel for various strategies, such as keeping relations with customers high. For example shown in the ‘Coachella 2015: Thank you’ video, which gained over 3,500 likes (as shown in the link below). Also for last year’s festival they streamed live on the social media platform (which are still available now) and used the hashtag musicfreedom to encourage viewers to engage in their social media conversation. Campaigns like this however cost a lot to produce, take a lot of time to produce and YouTube is not always a organised marketing tool.

This is also a prime example for how Coachella use different social Medias together to integrate into a social platform. Chief of strategy at Zoomph Amir Zonozi said ‘Some of these audiences will overlap but they are being consumed for different reasons. For example, people might watch the YouTube Live stream to experience it and watch sets, then also watch the SnapChat stories and Vines for entertainment, stay connected with updates from the event on Twitter, and engage with Instagrams as well.  Each channel has a different way of telling the same story, and they need to do them all if they want to reach their target audience, digital natives.’

Another significant strategy is their unique billboards showcasing the event and line-up, as shown below, the layout is very eye catching and is instantly connected with the Coachella brand, something that various other music festivals have attempted to replicate (Coachella, 2016).

coachella-2016-lineup-768x1024

A major reason for all this great marketing success is there use of trackable URLS and analytics, they use bit.ly URLs to track how many people clicked on a piece of content from their channel and also use Google Analytics on their Facebook apps, website and blog to know what specific content drove what specific action. Bit.ly was also used in their RSVP Facebook app, which encouraged goers to spread the word about the festival, the bit.ly URL they included each time a user stated there preferred date was clicked on over 22,000 times as shown in Shahs report. (Zechman, A et al, 2012)

Coachella have a loyal fan base now due to its personal approach, incorporated with a lot of social media, they also have competitions and free prizes, such as integrating Facebook with goers wristbands so they would automatically be entered into a special prize (adding to customer loyalty) (Stringcaninteractive. 2012).They also use sharing, such as photo booths at tents, so that customers can share their experience, so the festival gets more coverage to the general public. This is backed up with the statistic that the festival last year sold out in just 40 minutes (Brock, 2015). The loyal fan base means that Coachella has a impact on society, something that comes with its high popularity, coverage and innovative digital marketing. For example in 2013, the festival brought $234 million to the desert region around Indio alone, meaning that it doesn’t just impact the festival, but the whole city economy. Residents of the area make a living of the festival, meaning it has social implications ofnthe people. This is also seen as negative, with waste management issues, noise and air pollution and land degradation effecting the locals (Woodbury, 2014).

In relation to academic reference, I feel that Coachella can be used in the Boston Consulting group matrix. With extensive research I can see that the music festival is a cash cow, as it has a high market share (highest selling music festival as stated earlier), but now has a low market growth, as it has reached  its maximum growth (unless it expands further in the future, to different countries more than just an annual event). This is shown in the facts that for over 2 decades, Coachella has maintained its market share and sales and has consistently defended that position (Brassington et al, 2013).

As Wymbs stated “The rapidly emerging digital economy is challenging the relevance of existing marketing practices, and a radical redesign of the marketing curriculum consistent with the emerging student and business needs of the 21st century is required”. With this in mind, Coachellas digital marketing schemes, overtook the obsolete versions (newspaper adverts etc) and they keep on developing there digital practices to keep up with the needs of the 21st century to keep relevant.

By Isaac Roblett

 

 

References

Brassington, F. & Pettitt, S. (2013) Essentials of Marketing 3rd ed. Harlow:Pearson

Brock, G. (2015) Coachella festival tickets sell out in record time, but many questions remain. [Online] Available at: http://www.inquisitr.com/1744930/coachella-festival-tickets-sell-out-in-record-time-but-many-questions-remain/ Accessed: 1 February 2016

Coachella (2015) Coachella 2015: Thank You. Available at https://www.youtube.com/watch?v=vn2mfDELAv4. Accessed 30 January 2016

Coachella (2016) Coachella 2016. [Online] Available at: http://www.valleymusictravel.com/events/coachella-2016/ Accessed: 1 February 2016.

Coachella (2016) @coachella • Instagram photos and videos. [Online] Available at: https://www.instagram.com/coachella/?hl=en Accessed: 1 February 2016

Faughnder, R. (2015). At Coachella and other festivals, sponsors target young spenders. Available: http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-at-coachella-brand-bands-20150413-story.html. Accessed 19 January 2016.

Ingenex (2013) Learning from Coachella’s social marketing strategy – Ingenex digital marketing. [Online] Available at: http://ingenexdigital.com/coachellas-social-marketing/ Accessed: 1 February 2016

Jaekel, B. (2016) Coachella makes mobile headline act of 2015 festival marketing – mobile marketer – social networks. [Online] Available at: http://www.mobilemarketer.com/cms/news/social-networks/20214.html (Accessed: 1 February 2016).

McIntyre, H. (2015). Coachella Leads The Highest-Grossing Music Festivals Of 2015. [Online}: http://www.forbes.com/sites/hughmcintyre/2016/01/15/coachella-leads-the-highest-grossing-music-festivals-of-2015/#6779ce553732. Accessed 21 January 2016.

Shah, R. (2012) Traffic. [Online] Available at: https://bitly.com/whichweekend+ Accessed: 30 January 2016

Soffar, H. (2015). What are the advantages and disadvantages of using Instagram ?. Available: http://www.online-sciences.com/technology/what-are-the-advantages-and-disadvantages-of-using-instagram/. Accessed 20 January 2016.

Stringcaninteractive. (2012). 5 Key Coachella Lessons Learned From A Digital Marketing Perspective. [Online}: http://www.stringcaninteractive.com/blog/5-key-coachella-lessons-learned-from-a-digital-marketing-perspective/. Accessed 22 Jan 2016.

Woodbury, E. (2014). The Music Festival’s Impact on Society’s Sustianable Behaviour. Available: https://prezi.com/4ltmef_cm-cy/the-music-festivals-impact-on-societys-sustianable-behavio/. Accessed 19 January 2016.

Wymbs, C. (2011). Digital Marketing: The Time for a New “Academic Major” Has Arrived. Journal of Marketing education.  Volume 33 , 93-106

Zechman, A., McGinnis, D. and Johnson, S. (2012) 9 event marketing lessons from Coachella’s social media strategy – Salesforce marketing cloud Blog. [Online] Available at: http://www.exacttarget.com/blog/9-event-marketing-lessons-from-coachellas-social-media-strategy/ (Accessed: 1 February 2016).

 

How Music Festivals are becoming more creative with Social Media

In today’s music event industry, every festival must have a satisfactory social media campaign in order just to survive, long have gone the days of music fans congregating offline through music magazines and word of mouth.

As shown by Brandwatch, music is the third biggest conversation topic on Twitter (2013 results), showing the platform for promotion is viable (Juame, 2013). With this type of disruption, the music industry has to adapt, sales are mainly online now, making the business model much more accessible to a worldwide market and in turn more complicated. Fragmented platforms have now risen such as file sharing, videos etc. and in turn making music festivals evolve to coincide with these changes.

A crucial point is how music festival have been used to directly market to customers, due to various factors such as Facebook likes, Spotify playlist etc., festival can now directly market to potential customers more likely to attend there music festival, based on their music preferences. It has also made the relationship between festival and customer a lot closer as it has improved communication, meaning festivals can now improve and expand based on customers’ expectations.

Festivals have gotten innovative to compete with each for the social media stakes, there needs to be more than just a standard Facebook, Twitter, and Instagram etc. page. Major American music festival ‘Coachella’ has incorporated social media into every customers experience (Stringcaninteractive. 2012). By issuing each customer with a wristband which can be linked to their Facebook accounts, which meant that users were entered into a prize draw to win special prizes and VIP passes. On top of this there were also social check-in scanners placed at each stage, where users could simply wave their bracelet and be checked-in on Facebook that their watching a band at that stage at Coachella. This marketing strategy got people talking about this festival, even in the midst of its operation, was personal to customers and acted as a great PR strategy for the festival as well. Coachella was the biggest selling music festival of 2015, with an $84.26 million sales revenue and 198,000 attendees, making it an ideal platform for this type of social media campaign, as it has such a wide coverage of users (McIntyre, 2015).

As competition between festivals is rising, each festival is doing their own unique social media campaigns to try and outdo each other. Belgium music festival ‘Tomorrowland’ produce a 30 minute YouTube marketing advertisement as shown in there video ‘Tomorrowland 2014 | official aftermovie’. This video has over 46 million views and over 280,000 likes, showing the power of a good social media strategy (Tomorrowland, 2014).

As Van Vilet stated, social media is not just limited to the marketing of the event, but has relations with the actual experience, for example if customers use social media to state they are having  a good time, upload pictures etc. it will help promote the festival to friends and family on that persons social media networks, which is all good promotion and public relations for any festival, and it if was the adverse effect of negative feedback, the festival can then take action to adhere any problems.

With that in mind, a social media monitoring tool like Brandwatch has many uses for music festivals such as, the volume of conversation, coupled with the agnostic nature of social media means a vast body of opinion, which can be used for insight into trends, taste and purchasing behaviour all to a specific point. For example Glastonbury festival used Brandwatch analytics to find the different genders favourite acts for future marketing techniques as shown in the graph below, research like this is crucial for the festivals future development, to gain key insights, so that festivals can directly market specific artists to a certain demographic group. (Beard,2015).

Screen-Shot-2015-06-24-at-9.45.09-AMIn relation to academic reference SWOT analysis correlates perfectly with music’s social media strategies. With the increase of social media creativity in music festival the strengths are that it means music festival can now personally market and cater to customers’ needs and wants (Braassington et al, 2013). With the high competitive aspect between festivals it does mean they will all try and outdo each other, Coachella example is a key one, offering customers incentives to stay loyal to them. It also makes festivals more accessible, customer friendly and builds festival relationship with customers as well. The weaknesses is that such research might violate the customers privacy and over marketing can also get annoying (too much promotion of acts and festivals can put people of going, due to pop up’s, direct messaging etc. promoting directly to the customer without consent).

Opportunities for music festivals are the emergence of new social media platforms, such as Snapchat and Shazam, they can also invest heathier into social media analytic tools such as Brandwatch and Talkwalker as well as sharing logistical information.  Threats are that in today’s society many people are going back to basics with music in a sense of rebellion, such as vinyl sales being at a highest point since 1989 (Britton,2015), this could easily coincide with peoples use of social media in terms of music.

By Isaac Roblett

References

Beard, M . (2015). React: Toilets, Cows & Kate Moss – The Glastonbury ’15 Social Primer. [Online]: https://www.brandwatch.com/2015/06/react-toilets-cows-kate-moss-the-glastonbury-15-social-primer/. Accessed 22 January, 2015.

Brassington, F. & Pettitt, S. (2013) Essentials of Marketing 3rd ed. Harlow:Pearson

Britton, L (2015) Millennials push 2015 vinyl sales to 26-year high in US [Online] http://www.nme.com/news/various-artists/89616. Accessed 23 January 2016

Jaume,J. (2013). The Twitter Landscape Report: A Study of Conversation on Twitter. [Online}: https://www.brandwatch.com/2013/02/introducing-the-twitter-landscape-report-a-study-of-conversation-and-behaviour-on-twitter//. Accessed 20 January 2016.

McIntyre, H. (2015). Coachella Leads The Highest-Grossing Music Festivals Of 2015. [Online}: http://www.forbes.com/sites/hughmcintyre/2016/01/15/coachella-leads-the-highest-grossing-music-festivals-of-2015/#6779ce553732. Accessed 21 January 2016.

Stringcaninteractive. (2012). 5 Key Coachella Lessons Learned From A Digital Marketing Perspective. [Online}: http://www.stringcaninteractive.com/blog/5-key-coachella-lessons-learned-from-a-digital-marketing-perspective/. Accessed 22 Jan 2016.

Tomorrowland (2014) Tomorrowland 2014 | official aftermovie. Available at https://www.youtube.com/watch?v=NtDG-Cnj-pw. Accessed 30 January 2016

Van Vliet, H. (2011) A meta-analysis of festival motivations research: a comparison of items and factors. Hogeschool Utrecht: Crossmedialab.