A recent article, “Brands Urged to Engage Music Fans on SocNets,” appearing in both Adweek and Billboard states:

Music is playing such a critical role on fast-growing social networks that brand owners can no longer ignore it for brand-awareness strategies, says a new report by Heartbeats International, the Sweden-based international marketing agency.

It’s nice to see that the idea of marketers furthering their brand building endevours through music is gaining more and more traction.

It’s also inevitable.

As people continue to migrate their attention to the internet and digital media - for their very survival, brands had better do the same.

Though the article states that the primary reason is to “reach young audiences that have stopped using traditional media,” the same could be said for a larger audience in general.

For example, a Nielson NetView study, produced over the summer, notes that overall, women make up 56.1% of traffic to music sites, with women 35 – 49 making up the largest group. It goes without saying that women, especially in this age group, are responsible for most household purchase decisions.

Some other points from the Heartbeats study:

• On average, consumers listen to music on five different platforms, including mobile handsets and PCs.
• Two out of five social networkers have music embedded in their personal profile.
• The number of hours spent listening to music per day is growing.

The last point, although not quantified, is interesting. Take a walk down any busy street and it seems every other person, young and old, has buds growing out of their ears with an ipod attached.

For success, the report recommends that marketers shift from the traditional four P’s, to the four E’s (emotion, experience, engagement and exclusivity). The recommendations include:

• An “association” strategy that connects artists to audiences. Although, they don’t state exactly what this is. I imagine it’s essentially based on sponsorship.
• An “involvement” strategy that advocates co-creating to encourage fans to interact with music through things like remix competitions. Once again, this is sponsorship.
• An “exploration” strategy that offers music discovery platforms that introduces fans to new music. Sponsorship, again.

In my opinion, this is some pretty lazy thinking. Take away the veneer and what’s left is traditional advertising sponsorship that TV and Radio already relies on.

This is not to say that it’s a bad idea. The method obviously works and should be extended online. People are well used to getting free music online. The problem is free is not sustainable, unless underwritten by somebody. Brands are the most logical to do so.

A point I’ve maintained on this blog is that marketers should be adding music to their brand building toolkit. Music, as with all sensory input, is important to people, yet remains largely ignored by brands.

So far and frustratingly, music use by brands is largely based on celebrity, existing hit music and the subjective taste of the brand’s stakeholders and decision makers. This ridiculous, non-thinking method must mature and evolve if brand marketers want to truly harness the power of music and the impact it can have on their bottom line. And it doesn’t have to be expensive.

In this respect, new and original music from unknown writers and performers is certainly a way to go. The brand will get exposed to audiences and participate in channels that wouldn’t otherwise be available. Ideas will seamlessly cross from online to offline and back again. And the previously unknown songwriter/performer/band will get exposure that they otherwise wouldn't get or couldn’t afford.

Both benefit.

It’s not surprising that the adoption of music by brands is becoming a hot topic. There’s nothing more sticky or spreadable on the internet than music. And that’s what brands desperately need. On the other hand, music desperately needs new revenue models that brands can certainly help with.

To that end, the report says:

The same digital technology that changed the music industry is changing advertising as we know it.

Sounds like a mutually shared basis for a good and profitable partnership to me.

via Flatacre

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Click here to download:

2Scoops at the HMMA's.mp4 (3789 KB)

The Hollywood Music in Media Awards is an interesting and very different awards scheme for the music business. Unlike other shows, it recognizes the importance of music in all media. Until now, most music awards shows typically recognize music as standalone entertainment.

But where would movies and television be without music? It's an integral part of all entertainment, including advertising, games, events and the internet. It's an integral part of our lives.

The song '2Scoops' also represents an interesting and different scheme for brand communications. It's one of the first times (if not, the first time) a full length song, originally written and launched as a 30 second track for a TV commercial, has been picked up and distributed by Universal Music, top 40 radio and music video channels.

2Scoops has attracted conversation, reviews, comments, posts, listens and video views across the internet and in traditional media as well, with both the BBC and CBC writing about it.

Through the song (as social object) and the use of social media, Credit Canada has extended its reach and message well beyond traditional campaign flights and reaped the benefits because of it.

As most know, a common practice with music in advertising is to purchase the use of popular songs. This works. It can help gain a lot of attention. But often the attention is gained in favour of the song, singer, or band, rather than the brand. Blackberry's recent campaign, "We love U2," is a good example of that.

Another problem is the marketing limitations. Not to mention, expense. It ain't cheap.

'2Scoops' demonstrates that brand marketers can benefit from original music to gain as much, if not more traction than paying the ransom of renting existing pop music. It also shows that if the song becomes popular, it can bring the brand and it's message along for the ride. Something a brand cannot achieve with an already known and existing popular song.

The runner up to '2Scoops' was the MTV award winning 'Everywhere' by the pop star Michelle Branch. Which cost Chase Bank a fortune, I'd wager. With little ROI.

If you're interested, you can read more about the Credit Canada case and 2Scoops here.

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2Scoops has generated mountains of press already and there's still more coming in. Like this BBC article. Not bad for a song we originally penned for our client, Credit Canada.

Through the use of social media and the song we have been able to spread Credit Canada's message well beyond the confines of a traditional media flight.

The note below is from Daisy McLean, of Two Worlds Entertainment - Michelle's manager.

OK, so when I received the politely structured email from BBC I could hardly believe my eyes. Could they please have a picture of Michelle to publish alongside and article the editor was writing about the music industry, (I believe I sent them ALL my pictures). And today I received my long awaited copy of the magazine. Forgive me for having written all over it, I was excited.

"could be a name we'll be hearing more from in the future" -- Oliver Moreland, BBC Focus

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The images were borrowed from the film 'War Dance' which was shot in Uganda. A former pro bono client, the African Medical and Research Foundation (AMREF), participated in the making of the film. The song is titled, 'Not the Same World.' Written by Peter Holmes and performed by Richard Ivey for Flatacre.

Here's the Music Xray version.

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