Jaffa’s Concept Development

Rationale – Jaffa’s

The target market chosen for this advert is the baby boomer generation as this was the time that Jaffa’s were in their prime as far as Australian movie culture goes. This advert plays on the memorable moment all boomers share of rolling Jaffa’s down hard cinema stairs clinking and clattering disturbing an entire cinema. This iconic vision so many can recall is encompassed in the well worded slogan, “Keep the legend rolling.” The use of the word legend is to help aid the connection between movie culture and Jaffa’s, an attempt to reignite the desire for this once treasured orange lolly and the positive memories attached.  The ad depicts a female mother overjoyed receiving a 5 dollar note from her young son, too soon use and purchase Jaffa’s for their movie session.  This imagery is humorously ironic firstly as the role is reversed, but baby boomers were part of the first children to have money to spend on leisure. It is discussed that “for many, buying lollies was our first purchasing decision. As proverbial kids in candy stores, we had to decide whether it was better value to buy one Kit Kat or five rainbow balls.” (Writer, 2016) Boomers have the potential to be major influencers to other target markets being 48-67 years old as they most likely have or had children.  Wanting to share their magic moments with younger generations creates incentive and purchase power on an emotional level. The hero of the advert is the Jaffa and it is all about rebranding the lolly as not just a distant memory, but one for the now, to create new stories with the ones you love. The family characteristics of ‘movie night’ add a sentimental value to the advert, “campaigns with purely emotional content performed about twice as well compared with only rational content.” (Dooley, 2009) Playing on the emotions of the target audience also includes the patriotic angle of Australian movie culture which is so heavily valued by consumers. “Keep the legend rolling” allows for an intentional motivational trigger, a “don’t let them down” vibe through the wording. This advert would be suitable in papers such as ‘The Weekender, ‘The Courier Mail’ and magazines like ‘Lifestyle’ or even ‘4×4’ to reach the male population. This campaign delves into subconscious memories and values that will be a firm incentive to baby boomers and other generations to bring back the Jaffa.

CLIENT:       Allen’s

PRODUCT:  Jaffas

MEDIUM:      QUARTER PAGE NEWSPAPER, FULL COLOUR MAGAZINE AD

DATE:          18.10.1016

KEY NO:      1890 – N&D – 017 165

AUTHOR:     Nicole Bartlett

 

Headline:      Keep the legend rolling.

 

Visual:          (A MODERN CINEMA CANDY BAR WITH A YOUNG MALE CHILD AND MOTHER WAITING AT THE COUNTER. IN FOREGROUND YOUNG BOY HAS HAND OUTREACHED TOWARDS MOTHER WITH A FIVE DOLLAR NOTE IN HAND AS SHE INTENDEDS TO GRAB IT WITH AN OVERLY EXCITED EXPRESSION ON HER FACE. IN THE BACKGROUND BEHIND THE CANDY COUNTER IS A LARGE SHELF FILLED WITH JAFFAS PACKETS AND PRODUCTS)

 

Logo:            (JAFFAS)

 

Logo:            (ALLENS)

Made in Australia

Copy:           No artificial colours.

 

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Brisbane Eisteddfod Client Critique

This work was for the client Brisbane Eisteddfod this semester.

Executive Summary:

Brisbane Eisteddfod is competing in a technologically advanced industry. The developments in the performing arts and music industry in the last 10 years can be all related to digitalisation. Music content is now accessible online and hard copies are out-dated. Performers and artist no longer need talent shows and recording studio to promote themselves as social media has become a new platform for self-expression and self-promotion as an artist. Along with social media, the glamour of television has deducted from live competitions and consumers no longer feel the need for talent shows in local areas. Technology advanced in music production has allowed consumers to create record worthy songs from the comforts of their home. With limited funding to this industry at threat of diminishing.

These factors are intimidating however from them can arise opportunities for an entertainment brand.  Social media is a fast and cost-effective way to promote a brand or competition if targeted correctly. If creative content is campaigned it has the potential to be shared and captured online by hundreds creating a massive online reach. Millennials want to be engaged and intrigued so invitational events or launch nights can captivate attendees and potential registrants. Events or campaigns can be revamped with music digitalisation such as DJ’s and sound and lighting shows.

Two concepts for development involve a rebranding of Brisbane Eisteddfod to a younger more inviting image to fully target the correct audience. The campaigns for the competitions would be launched digitally online and also in schools and universities. Along with the campaigns, guerrilla marketing would be introduced around public areas with potential flash mobs or live performances of past winners and current talents. These spontaneous acts create a potential for online exposure and content capture by the desired audience.

 

 

 

1.0             Industry Analysis

 

The client, Brisbane Eisteddfod, is a contemporary art competition that has been running for over 121 years. The Brisbane Eisteddfod provides a platform allowing for “comprehensive artistic opportunities for amateur performers” (Brisbane Eisteddfod, 2017). The competition runs individual performances throughout the entirety of the year and targets children ranging from 8-16 years of age. Due to the nature of the organisation being a non-profit there is a constant struggle for funding and sponsorship which is a hindrance to the event management and advertising. There is currently a small online presence via social media accounts, however the activity on these accounts is out-dated.

 

The Australian music arts industry in which this competition is attempting to thrive in is rapidly growing and developing.  In 2016 over 40 million people attended contemporary music performances, leading the industry to source 65,000 jobs and generate roughly $2 billion in revenue (Bowen, 2016). Whilst 2016 generated a substantial revenue figure, the industry hasn’t always been so reliable. In the previous 15 years the industry had experienced a 40% decline in revenue directly correlated to the introduction of online piracy and a decline in the quantity of physical sales (Ellis- Petersen, 2017).  The industry can be divided into its several components of content whether that be songs, the song writers, publishers, recording studios, and all of the extra necessities that come along with the process of music production. This used to be a straight forward process, however digitalisation of music disrupted this industry via not only online streaming but social media self-promotion.  Social media enabled musicians and music companies to develop new stratagems for distribution that disrupted the traditional supply chain dominated by major record labels (Vella, 2016). Major advancements in the conduit of music was a direct result of these new strategies and now music is largely accessible  from anywhere, whether it be via television, live performances, mobile, cars or gaming.

 

Brisbane Eisteddfod is a live performance competition that is now competing for the attention of people absorbed in a digital world. It began in 2003 with Australian Idol, a singing talent show airing on television, then closely followed in 2007 by a subsequent talent show called Australia’s Got Talent. These shows combined music content and created a new consumption platform. Entries are submitted online and auditions judged remotely, in doing so they cut out the middle man and allow viewers to become an interactive component of the television show deciding and voting on the outcome. These shows created a “consumer engagement in a virtual brand community, specifically interactive experiences between consumers and the brand and other members of the community” (Brodie et al., 2013). It gave viewers a new community and created bigger brand awareness than ever, the sponsorship and funding put into the shows was massive. However, as of 2016, Channel 9 demonstrated a 7% decline in revenue for the first quarter of the year as a result of the poor performance of their shows, one being the aforementioned Australia’s Got Talent (Hickman, 2016).

 

Initially, the televising of talent competitions was a major success but the digital spectrum shifted again with the introduction of smart phones. The consumption of entertainment and music for Gen Z is now done by smartphone with 50% of this generation connected online for approximately 10 hours a day (Granados, 2017). Digital online streaming is highly used in this industry today and in 2017 has breathed new life into one of the latest risers, YouTube. Studies have found that, “YouTube has become the world’s biggest music platform, with 82 per cent of the site’s 1.3bn users using it to listen to music, and because of its size it is potentially exposed to stream ripping” (Garrahan, 2016). Stream ripping is the process of downloading illegally streamed content and storing it. Within all of the illegal elements, YouTube has created a new way for people to self-promote themselves as an artist and are no longer reliant on talent competitions to have their names recognised. Huge global popstars such as Justin Bieber, Shawn Mendes and Ed Sheeran all started their music careers on YouTube and it is this strategy that has greatly revolutionised the industry (Briones, 2016).
Technology and content that originally could only be accessed from a recording studio is now one click away. The convergence of the music industry has shown technological advancements in ways that now allow artists to produce record deal music with no more than a keyboard. This convergence is what “ declined the  turntable and record needle industries and gave birth to new market segments in DJ mixers, effects, lighting and sound reinforcement equipment” (Goodman, 2014). Computer apps such as “Garage Band” have modernised the way music is created causing a redundancy in classical musical instruments.

There are many new and old legal obligations set in place in the music industry to protect music content such as acts of piracy and the copyright laws of music protection. Table 1 further provides a deeper analysis of macro-environmental factors.

Table 1. PESTEL Analysis of Music Industry

Political	·       Federal government announced that its newly created Catalyst Australian Arts and Culture Fund would deliver absolutely zero funding for the music industry (Wilson, 2016) ·       Australian Labour Party’s announcement argued against committing $5.4 million over three years to fund an expanded Sounds Australia and including the Live Music Office and the Australian Music Centre (APRA, 2016) ·       Musicians engage in self-censorship to avoid being denied state-sponsored performance opportunities (McNeill, 2016)
Economical	·       Digital sales contribute 45 per cent of industry revenues; overtake physical’s 39 per cent share ( Strain, 2016) ·       Over nine million tickets are sold annually to live music and music theatre performances in Australia, with an industry output of over $1.5 billion ( Music Australia, 2016) ·       The findings are significant in the competitive Australian small- medium business sector, which in 2014-15 contributed $608 billion to GDP and employed more than 7.2 million people (Derwin, 2016)
Social	·       Devaluation of music – More recently the focus has been on the seemingly miniscule payments songs generate when they’re streamed on services such as Spotify or Apple Music (Havighurst, 2015) ·       The use of social media as a promotional platform ·       New talent, however, has been taking charge of their own personal marketing and distribution through social media and music streaming platforms (Moskov, 2016)
Technological	·       The entire music industry posted a 3.1% increase in overall volume, with total album consumption reaching 560.7 million units (Washenko, 2017) ·       Live plays and theatre productions are now not as popular with the introduction of streaming ·       Televised talent shows created a new element of exposure for artists.
Environmental	·       “Numerous non-profit organisations (such as NativeEnergy, Global Cool and Reverb) work with artists as diverse as the Red Hot Chili Peppers and Norah Jones to draw up plans that, among other things, help reduce waste, offset carbon dioxide emissions, promote eco-friendly merchandise and encourage recycling.” (Jones, 2007) ·       There is concerns for the carbon emissions and staggering energy use of stage performances and theatre productions. Greenhouse gases and worrisome climate changes are causing more people and businesses from around the world to address old and short-sighted practices that are environmentally wasteful. (Jones, 2010)
Legal	·       Copyright Act 1996 – performers in the music industry and talent companies must adhere to the copyright laws in place. ·       Australia ranks as one of the worst offending countries for online piracy, with 1.24 billion visits to illegal pirate sites in 2016. (Whigham, 2016)

 

 

2.0             Key Industry Opportunities

 

Notable trends to be highlighted for The Brisbane Eisteddfod from the industry analysis can be seen in the list below:

• The internet has allowed for new ways of musical distribution and the industry no longer just relies on just hard copy sales or talent shows.
• Digitalisation of music and performance has created a new element and channel to the industry.
• Consumers want a digital and physical brand community to engage and interact with.
• Online streaming is becoming the new way of television and it only getting bigger with sites such as YouTube.
• Millennials entertainment and music consumption is predominately done from a smart phone.
• Artists and performers have created a way for self-discovery by taking advantage of social media to promote themselves.
• Classical music skill has been devalued with the introduction of digital music and new ways of musical convergence.

There are some key opportunities to be examined from this emergence of trends. Firstly although digitalisation has become the new trend in the music and performance industry it is not to shy away from. Using social media as an advertisement aspect for the entertainment industry is a method for reaching a massive audience efficiently. The large-scale adoption of mobile and social media technologies, paired with advances in user tracking, data mining, and big-data analyses, have served to provide entertainment brands with more opportunities to reach consumers as well as to better target their intentions (Rodgers & Thorson, 2017).

 

 

 

Millennials are more immersed in the digital world then ever before but there are always new methods of engagement with them and using their technological tendencies as walking advertisement. Creating online content which they are willing to share, photograph or promote is a cost effective way to create brand awareness. Millennials want to share content and “to win over the millennial customer base, brands must work to make themselves compatible with the demographics’ desire to promote their personal identity through social media” (Hargreave, 2016).

Artists and performers alike have taken to the internet to create new and innovative platforms of musical exposure. Although it does deter from the idea of talent shows and music performances, it can still be utilised and taken advantage of. Instead of waiting for interest in an event, sites such as YouTube and Instagram allow brands to go out and seek potential contenders and contact them directly. The idea of an official invitation to an event or performance is a new and effective way of consumer engagement. The graph below demonstrates an insight into the attendance of millennials to events throughout 2016 utilising the data reported by Grate (2017).

Graph 1. Graph of an Insight into Millennial Event Attendance for 2016

 

It can be taken from this that the desire of an event or invitational promotion can be an effective way to connect and opens opportunities to create brand awareness and in an example for Brisbane Eisteddfod, creating registration interest for the competition. People want to help and support good causes, if not for the moral side, for the social image side. An example being volunteer run events or low funded events.

Events can be made in celebration of performances or shows and can be modernised with the use of technology such as DJ’s, projection screens and incredible sounds systems in a way of wowing audiences. See the strengths, weaknesses, opportunities and threats table below for some further analysis on Brisbane Eisteddfod.

Table 2. S.W.O.T Analysis

Strengths	Weaknesses
·       Strong establishment in the market (over 120 years) ·       Broad target market with many instrumental and talent categories ·       Strong historical credentials ·       Large target market	·       Low brand awareness ·       Low online presence ·       Out-dated marketing ·       Low funding (non-profit organisation) ·       Low staffing/ volunteers
Opportunities	Threats
·       Rebranding in a non-saturated market ·       Digital campaigns with massive online reach ·       Revamped lighting, music and visuals to liven the performances ·       Funding from the Labour Parliaments proposal	·       Television shows airing new talent shows frequently ·       The digitalisation of music ·       Online streaming deterring the effect of live competitions ·       No desire for talent competitions with the uprise of social media promotion

 

 

 

3.0             Ideas for Future Implementation and Development

1. Rebranding and online digital campaigns

As implied by the client, a motion to rebrand the image of the event and company is recommended as referenced in the S.W.O.T analysis. The historical influence on The Brisbane Eisteddfod is to be commemorated however the image of the brand is slightly outdated for the desired target audience. It is recommended Brisbane Eisteddfod is rebranded into a more youthful and modern brand in the eye of young teenagers and parents. It is important to try and create a brand that will relate with teens, “authenticity is particularly important to the young — they want the brands they support to reflect their values and tastes” (Marketing Schools, 2012).

The campaigns would be colourful and styled with young people dancing, singing and performing, they would highlight the benefits of the competition and celebrate the winners gloriously.

Consumption channels have changed for millennials so the rebranding would be introduced back into the market through a series of yearly online campaigns and would be advertised through schools and social media. These campaigns would highlight the competitions and promote past winners and registration to try for consumer incentive. People would be scouted from social media and invited to register for the event creating a sense of personalisation and recognition. Schools could also be visited with flyers and registration forms to ensure direct marketing to children in the target audience.

 

2. Guerrilla Marketing (Flash Mob)

With a large population of the target audience being active online in the social community it was mention that this was an advertisement opportunity. With a small budget in mind, any advertising would have to be non-expensive and what a better way to have digital exposure then guerrilla marketing. Guerrilla marking is a “somewhat edgy, unconventional strategy, that tends to earn brands bonus points in the “non-traditional” category, and if done correctly, it can be an effective way to generate ample visibility on a low budget” (DeMers, 2016).

Being a performing arts competition, a concept would be doing a flash mob in a school or in public areas such as a university campus or the city. Whether it be dancers or a pop-up orchestra, it would create attention and celebrate the spirit of the competition. This can cause the audience to film and digitally expose the advertisement to hundreds online. Activation zones could also be set up in and around the city for advertisements of the current running competitions. There will be pamphlets with details of the competitions and even pop up stations with recordings playing the past winners for emphasis.

As mentioned earlier consumers want to be engaged and engage so it is about giving them desirable content that will bring attention. Even something as simple as digitalisation of music can create an active guerrilla marketing campaign, it is modern and stimulating.

 

 

 

4.0             References

AMCOS, A. (2017). Labor announces commitment to invest in music industry. Apraamcos.com.au. Retrieved 22 September 2017, from http://apraamcos.com.au/news/2016/june/labor-announces-commitment-to-invest-in-music-industry/

Bowen, C. (2017). STATISTICAL SNAPSHOT – Australian Music – a Billion Dollar Industry | Music Australia. Music Australia. Retrieved 21 September 2017, from http://musicaustralia.org.au/2016/03/statistical-snapshot-australian-contemporary-music-industry/

Brodie, R., Ilic, A., Juric, B., & Hollebeek, L. (2013). Consumer engagement in a virtual brand community: An exploratory analysis. Journal Of Business Research, 66(1), 105-114. http://dx.doi.org/10.1016/j.jbusres.2011.07.029

Briones, I. (2016). 12 Major Artists Who Got Their Start on YouTube. Teen Vogue. Retrieved 22 September 2017, from https://www.teenvogue.com/story/best-artists-discovered-on-youtube

DeMers, J. (2016). Forbes Welcome. Forbes.com. Retrieved 23 September 2017, from https://www.forbes.com/sites/jaysondemers/2016/08/30/is-guerrilla-marketing-worth-trying-in-your-marketing-strategy/#559cd4d94a0e

Derwin, J. (2016). Digital engagement boosts revenue, talent prospects. Accountantsdaily.com.au. Retrieved 22 September 2017, from https://www.accountantsdaily.com.au/professional-development/9591-digital-engagement-boosts-revenue-talent-prospects

Ellis-Petersen, H. (2017). How streaming saved the music: global industry revenues hit £12bn. The Guardian. Retrieved 21 September 2017, from https://www.theguardian.com/business/2017/apr/25/2016-marks-tipping-point-for-music-industry-with-revenues-of-15bn

Garrahan, M. (2016). Music industry faces yet another piracy threat. Financial Review. Retrieved 22 September 2017, from http://www.afr.com/business/music-industry-faces-yet-another-piracy-threat-20160913-grf1py

Granados, N. (2017). Gen Z Media Consumption: It’s A Lifestyle, Not Just Entertainment. Forbes.com. Retrieved 21 September 2017, from https://www.forbes.com/sites/nelsongranados/2017/06/20/gen-z-media-consumption-its-a-lifestyle-not-just-entertainment/#3c15fb3118c9

Grate, R. (2016). New Data on Millennials Reveals What Draws Them to Events. Eventbrite US Blog. Retrieved 23 September 2017, from https://www.eventbrite.com/blog/millennials-event-trends-ds00/

Hargreave, S. (2016). Millennials Only Want Experiences That Can Be Shared on Social Media. HuffPost UK. Retrieved 23 September 2017, from http://www.huffingtonpost.co.uk/sam-lewishargreave/millennials-only-want-exp_b_11429578.html

Havighurst, C. (2015). The Devaluation of Music: It’s Worse Than You Think. Medium. Retrieved 22 September 2017, from https://medium.com/cuepoint/the-devaluation-of-music-it-s-worse-than-you-think-f4cf5f26a888

Hickman, A. (2017). Nine stung by poor ratings and shrinking ad market. Adnews.com.au. Retrieved 21 September 2017, from http://www.adnews.com.au/news/nine-stung-by-poor-ratings-and-shrinking-ad-market

How the Australian Music Industry Works. (2017). Music Australia. Retrieved 22 September 2017, from http://musicaustralia.org.au/discover/the-professional-music-industry/how-the-australian-music-industry-works/

IFPI Global Music Report 2016. (2017). Ifpi.org. Retrieved 22 September 2017, from http://www.ifpi.org/news/IFPI-GLOBAL-MUSIC-REPORT-2016

Jones, M. (2010). The Greening of the Music Industry. Thembj.org. Retrieved 22 September 2017, from http://www.thembj.org/2010/05/the-greening-of-the-music-industry/

Jones, P. (2007). Music industry increasingly in tune with environmental revolution. PopMatters. Retrieved 22 September 2017, from http://www.popmatters.com/article/music-industry-increasingly-in-tune-with-environmental-revolution/

McNeill, F. (2016). Why musicians shouldn’t be judged for playing on political party platforms. The Conversation. Retrieved 22 September 2017, from https://theconversation.com/why-musicians-shouldnt-be-judged-for-playing-on-political-party-platforms-64327

Moskov, A. (2016). 4 HUGE Trends in the Music Industry for 2016/2017. Medium. Retrieved 22 September 2017, from https://medium.com/@AlexMoskov/4-huge-trends-in-the-music-industry-for-2016-2017-63b6924f4c2e

Rodgers, S., & Thorson, E. (2017). Digital advertising (3rd ed., p. 117). Taylor & Francis eBooks.

The Brisbane Eisteddfod. (2017). The Brisbane Eisteddfod. Retrieved 21 September 2017, from https://www.brisbaneeisteddfod.org.au

Vella, R. (2017). Music industry faces digitisation challenges, but all is not lost. ABC News. Retrieved 21 September 2017, from http://www.abc.net.au/news/2016-11-28/why-music-is-not-lost/8055044

Washenko, A. (2017). Nielsen 2016 report: “Music consumption is at an all-time high”. Rainnews.com. Retrieved 22 September 2017, from http://rainnews.com/nielsen-2016-report-music-consumption-is-at-an-all-time-high/

Whigham, N. (2016). Rights holders and movie industry primed for major piracy crackdown in Australia. NewsComAu. Retrieved 22 September 2017, from http://www.news.com.au/technology/online/piracy/right-holders-and-movie-industry-primed-for-major-piracy-crackdown-in-australia-say-graham-burke/news-story/c0ca29df1df308a24ac0dda4a3749c19

Wilson, Z. (2016). Labor Promises Millions For Australian Music Industry. Music Feeds. Retrieved 22 September 2017, from http://musicfeeds.com.au/news/labour-promises-millions-australian-music-industry/

Youth Marketing | What is Youth Marketing?. (2012). Marketing-schools.org. Retrieved 23 September 2017, from http://www.marketing-schools.org/types-of-marketing/youth-marketing.html

Brisbane Eisteddfod

Executive Summary:

Brisbane Eisteddfod is competing in a technologically advanced industry. The developments in the performing arts and music industry in the last 10 years can be all related to digitalisation. Music content is now accessible online and hard copies are out-dated. Performers and artist no longer need talent shows and recording studio to promote themselves as social media has become a new platform for self-expression and self-promotion as an artist. Along with social media, the glamour of television has deducted from live competitions and consumers no longer feel the need for talent shows in local areas. Technology advanced in music production has allowed consumers to create record worthy songs from the comforts of their home. With limited funding to this industry at threat of diminishing.

These factors are intimidating however from them can arise opportunities for an entertainment brand.  Social media is a fast and cost effective way to promote a brand or competition if targeted correctly. If creative content is campaigned it has the potential to be shared and captured online by hundreds creating a massive online reach. Millennials want to be engaged and intrigued so invitational events or launch nights can captivate attendees and potential registrants. Events or campaigns can be revamped with music digitalisation such as DJ’s and sound and lighting shows.

Two concepts for development involve a rebranding of Brisbane Eisteddfod to a younger more inviting image to fully target the correct audience. The campaigns for the competitions would be launched digitally online and also in schools and universities. Along with the campaigns, guerrilla marketing would be introduced around public areas with potential flash mobs or live performances of past winners and current talents. These spontaneous acts create a potential for online exposure and content capture by the desired audience.

 

 

 

1.0             Industry Analysis

 

The client, Brisbane Eisteddfod, is a contemporary art competition that has been running for over 121 years. The Brisbane Eisteddfod provides a platform allowing for “comprehensive artistic opportunities for amateur performers” (Brisbane Eisteddfod, 2017). The competition runs individual performances throughout the entirety of the year and targets children ranging from 8-16 years of age. Due to the nature of the organisation being a non-profit there is a constant struggle for funding and sponsorship which is a hindrance to the event management and advertising. There is currently a small online presence via social media accounts, however the activity on these accounts is out-dated.

 

The Australian music arts industry in which this competition is attempting to thrive in is rapidly growing and developing.  In 2016 over 40 million people attended contemporary music performances, leading the industry to source 65,000 jobs and generate roughly $2 billion in revenue (Bowen, 2016). Whilst 2016 generated a substantial revenue figure, the industry hasn’t always been so reliable. In the previous 15 years the industry had experienced a 40% decline in revenue directly correlated to the introduction of online piracy and a decline in the quantity of physical sales (Ellis- Petersen, 2017).  The industry can be divided into its several components of content whether that be songs, the song writers, publishers, recording studios, and all of the extra necessities that come along with the process of music production. This used to be a straight forward process, however digitalisation of music disrupted this industry via not only online streaming but social media self-promotion.  Social media enabled musicians and music companies to develop new stratagems for distribution that disrupted the traditional supply chain dominated by major record labels (Vella, 2016). Major advancements in the conduit of music was a direct result of these new strategies and now music is largely accessible  from anywhere, whether it be via television, live performances, mobile, cars or gaming.

 

Brisbane Eisteddfod is a live performance competition that is now competing for the attention of people absorbed in a digital world. It began in 2003 with Australian Idol, a singing talent show airing on television, then closely followed in 2007 by a subsequent talent show called Australia’s Got Talent. These shows combined music content and created a new consumption platform. Entries are submitted online and auditions judged remotely, in doing so they cut out the middle man and allow viewers to become an interactive component of the television show deciding and voting on the outcome. These shows created a “consumer engagement in a virtual brand community, specifically interactive experiences between consumers and the brand and other members of the community” (Brodie et al., 2013). It gave viewers a new community and created bigger brand awareness than ever, the sponsorship and funding put into the shows was massive. However, as of 2016, Channel 9 demonstrated a 7% decline in revenue for the first quarter of the year as a result of the poor performance of their shows, one being the aforementioned Australia’s Got Talent (Hickman, 2016).

 

Initially, the televising of talent competitions was a major success but the digital spectrum shifted again with the introduction of smart phones. The consumption of entertainment and music for Gen Z is now done by smartphone with 50% of this generation connected online for approximately 10 hours a day (Granados, 2017). Digital online streaming is highly used in this industry today and in 2017 has breathed new life into one of the latest risers, YouTube. Studies have found that, “YouTube has become the world’s biggest music platform, with 82 per cent of the site’s 1.3bn users using it to listen to music, and because of its size it is potentially exposed to stream ripping” (Garrahan, 2016). Stream ripping is the process of downloading illegally streamed content and storing it. Within all of the illegal elements, YouTube has created a new way for people to self-promote themselves as an artist and are no longer reliant on talent competitions to have their names recognised. Huge global popstars such as Justin Bieber, Shawn Mendes and Ed Sheeran all started their music careers on YouTube and it is this strategy that has greatly revolutionised the industry (Briones, 2016).
Technology and content that originally could only be accessed from a recording studio is now one click away. The convergence of the music industry has shown technological advancements in ways that now allow artists to produce record deal music with no more than a keyboard. This convergence is what “ declined the  turntable and record needle industries and gave birth to new market segments in DJ mixers, effects, lighting and sound reinforcement equipment” (Goodman, 2014). Computer apps such as “Garage Band” have modernised the way music is created causing a redundancy in classical musical instruments.

There are many new and old legal obligations set in place in the music industry to protect music content such as acts of piracy and the copyright laws of music protection. Table 1 further provides a deeper analysis of macro-environmental factors.

Table 1. PESTEL Analysis of Music Industry

Political	·       Federal government announced that its newly created Catalyst Australian Arts and Culture Fund would deliver absolutely zero funding for the music industry (Wilson, 2016) ·       Australian Labour Party’s announcement argued against committing $5.4 million over three years to fund an expanded Sounds Australia and including the Live Music Office and the Australian Music Centre (APRA, 2016) ·       Musicians engage in self-censorship to avoid being denied state-sponsored performance opportunities (McNeill, 2016)
Economical	·       Digital sales contribute 45 per cent of industry revenues; overtake physical’s 39 per cent share ( Strain, 2016) ·       Over nine million tickets are sold annually to live music and music theatre performances in Australia, with an industry output of over $1.5 billion ( Music Australia, 2016) ·       The findings are significant in the competitive Australian small- medium business sector, which in 2014-15 contributed $608 billion to GDP and employed more than 7.2 million people (Derwin, 2016)
Social	·       Devaluation of music – More recently the focus has been on the seemingly miniscule payments songs generate when they’re streamed on services such as Spotify or Apple Music (Havighurst, 2015) ·       The use of social media as a promotional platform ·       New talent, however, has been taking charge of their own personal marketing and distribution through social media and music streaming platforms (Moskov, 2016)
Technological	·       The entire music industry posted a 3.1% increase in overall volume, with total album consumption reaching 560.7 million units (Washenko, 2017) ·       Live plays and theatre productions are now not as popular with the introduction of streaming ·       Televised talent shows created a new element of exposure for artists.
Environmental	·       “Numerous non-profit organisations (such as NativeEnergy, Global Cool and Reverb) work with artists as diverse as the Red Hot Chili Peppers and Norah Jones to draw up plans that, among other things, help reduce waste, offset carbon dioxide emissions, promote eco-friendly merchandise and encourage recycling.” (Jones, 2007) ·       There is concerns for the carbon emissions and staggering energy use of stage performances and theatre productions. Greenhouse gases and worrisome climate changes are causing more people and businesses from around the world to address old and short-sighted practices that are environmentally wasteful. (Jones, 2010)
Legal	·       Copyright Act 1996 – performers in the music industry and talent companies must adhere to the copyright laws in place. ·       Australia ranks as one of the worst offending countries for online piracy, with 1.24 billion visits to illegal pirate sites in 2016. (Whigham, 2016)

 

 

2.0             Key Industry Opportunities

 

Notable trends to be highlighted for The Brisbane Eisteddfod from the industry analysis can be seen in the list below:

• The internet has allowed for new ways of musical distribution and the industry no longer just relies on just hard copy sales or talent shows.
• Digitalisation of music and performance has created a new element and channel to the industry.
• Consumers want a digital and physical brand community to engage and interact with.
• Online streaming is becoming the new way of television and it only getting bigger with sites such as YouTube.
• Millennials entertainment and music consumption is predominately done from a smart phone.
• Artists and performers have created a way for self-discovery by taking advantage of social media to promote themselves.
• Classical music skill has been devalued with the introduction of digital music and new ways of musical convergence.

There are some key opportunities to be examined from this emergence of trends. Firstly although digitalisation has become the new trend in the music and performance industry it is not to shy away from. Using social media as an advertisement aspect for the entertainment industry is a method for reaching a massive audience efficiently. The large-scale adoption of mobile and social media technologies, paired with advances in user tracking, data mining, and big-data analyses, have served to provide entertainment brands with more opportunities to reach consumers as well as to better target their intentions (Rodgers & Thorson, 2017).

 

 

 

Millennials are more immersed in the digital world then ever before but there are always new methods of engagement with them and using their technological tendencies as walking advertisement. Creating online content which they are willing to share, photograph or promote is a cost effective way to create brand awareness. Millennials want to share content and “to win over the millennial customer base, brands must work to make themselves compatible with the demographics’ desire to promote their personal identity through social media” (Hargreave, 2016).

Artists and performers alike have taken to the internet to create new and innovative platforms of musical exposure. Although it does deter from the idea of talent shows and music performances, it can still be utilised and taken advantage of. Instead of waiting for interest in an event, sites such as YouTube and Instagram allow brands to go out and seek potential contenders and contact them directly. The idea of an official invitation to an event or performance is a new and effective way of consumer engagement. The graph below demonstrates an insight into the attendance of millennials to events throughout 2016 utilising the data reported by Grate (2017).

Graph 1. Graph of an Insight into Millennial Event Attendance for 2016

 

It can be taken from this that the desire of an event or invitational promotion can be an effective way to connect and opens opportunities to create brand awareness and in an example for Brisbane Eisteddfod, creating registration interest for the competition. People want to help and support good causes, if not for the moral side, for the social image side. An example being volunteer run events or low funded events.

Events can be made in celebration of performances or shows and can be modernised with the use of technology such as DJ’s, projection screens and incredible sounds systems in a way of wowing audiences. See the strengths, weaknesses, opportunities and threats table below for some further analysis on Brisbane Eisteddfod.

Table 2. S.W.O.T Analysis

Strengths	Weaknesses
·       Strong establishment in the market (over 120 years) ·       Broad target market with many instrumental and talent categories ·       Strong historical credentials ·       Large target market	·       Low brand awareness ·       Low online presence ·       Out-dated marketing ·       Low funding (non-profit organisation) ·       Low staffing/ volunteers
Opportunities	Threats
·       Rebranding in a non-saturated market ·       Digital campaigns with massive online reach ·       Revamped lighting, music and visuals to liven the performances ·       Funding from the Labour Parliaments proposal	·       Television shows airing new talent shows frequently ·       The digitalisation of music ·       Online streaming deterring the effect of live competitions ·       No desire for talent competitions with the uprise of social media promotion

 

 

 

3.0             Ideas for Future Implementation and Development

1. Rebranding and online digital campaigns

As implied by the client, a motion to rebrand the image of the event and company is recommended as referenced in the S.W.O.T analysis. The historical influence on The Brisbane Eisteddfod is to be commemorated however the image of the brand is slightly outdated for the desired target audience. It is recommended Brisbane Eisteddfod is rebranded into a more youthful and modern brand in the eye of young teenagers and parents. It is important to try and create a brand that will relate with teens, “authenticity is particularly important to the young — they want the brands they support to reflect their values and tastes” (Marketing Schools, 2012).

The campaigns would be colourful and styled with young people dancing, singing and performing, they would highlight the benefits of the competition and celebrate the winners gloriously.

Consumption channels have changed for millennials so the rebranding would be introduced back into the market through a series of yearly online campaigns and would be advertised through schools and social media. These campaigns would highlight the competitions and promote past winners and registration to try for consumer incentive. People would be scouted from social media and invited to register for the event creating a sense of personalisation and recognition. Schools could also be visited with flyers and registration forms to ensure direct marketing to children in the target audience.

 

2. Guerrilla Marketing (Flash Mob)

With a large population of the target audience being active online in the social community it was mention that this was an advertisement opportunity. With a small budget in mind, any advertising would have to be non-expensive and what a better way to have digital exposure then guerrilla marketing. Guerrilla marking is a “somewhat edgy, unconventional strategy, that tends to earn brands bonus points in the “non-traditional” category, and if done correctly, it can be an effective way to generate ample visibility on a low budget” (DeMers, 2016).

Being a performing arts competition, a concept would be doing a flash mob in a school or in public areas such as a university campus or the city. Whether it be dancers or a pop-up orchestra, it would create attention and celebrate the spirit of the competition. This can cause the audience to film and digitally expose the advertisement to hundreds online. Activation zones could also be set up in and around the city for advertisements of the current running competitions. There will be pamphlets with details of the competitions and even pop up stations with recordings playing the past winners for emphasis.

As mentioned earlier consumers want to be engaged and engage so it is about giving them desirable content that will bring attention. Even something as simple as digitalisation of music can create an active guerrilla marketing campaign, it is modern and stimulating.

 

 

 

4.0             References

AMCOS, A. (2017). Labor announces commitment to invest in music industry. Apraamcos.com.au. Retrieved 22 September 2017, from http://apraamcos.com.au/news/2016/june/labor-announces-commitment-to-invest-in-music-industry/

Bowen, C. (2017). STATISTICAL SNAPSHOT – Australian Music – a Billion Dollar Industry | Music Australia. Music Australia. Retrieved 21 September 2017, from http://musicaustralia.org.au/2016/03/statistical-snapshot-australian-contemporary-music-industry/

Brodie, R., Ilic, A., Juric, B., & Hollebeek, L. (2013). Consumer engagement in a virtual brand community: An exploratory analysis. Journal Of Business Research, 66(1), 105-114. http://dx.doi.org/10.1016/j.jbusres.2011.07.029

Briones, I. (2016). 12 Major Artists Who Got Their Start on YouTube. Teen Vogue. Retrieved 22 September 2017, from https://www.teenvogue.com/story/best-artists-discovered-on-youtube

DeMers, J. (2016). Forbes Welcome. Forbes.com. Retrieved 23 September 2017, from https://www.forbes.com/sites/jaysondemers/2016/08/30/is-guerrilla-marketing-worth-trying-in-your-marketing-strategy/#559cd4d94a0e

Derwin, J. (2016). Digital engagement boosts revenue, talent prospects. Accountantsdaily.com.au. Retrieved 22 September 2017, from https://www.accountantsdaily.com.au/professional-development/9591-digital-engagement-boosts-revenue-talent-prospects

Ellis-Petersen, H. (2017). How streaming saved the music: global industry revenues hit £12bn. The Guardian. Retrieved 21 September 2017, from https://www.theguardian.com/business/2017/apr/25/2016-marks-tipping-point-for-music-industry-with-revenues-of-15bn

Garrahan, M. (2016). Music industry faces yet another piracy threat. Financial Review. Retrieved 22 September 2017, from http://www.afr.com/business/music-industry-faces-yet-another-piracy-threat-20160913-grf1py

Granados, N. (2017). Gen Z Media Consumption: It’s A Lifestyle, Not Just Entertainment. Forbes.com. Retrieved 21 September 2017, from https://www.forbes.com/sites/nelsongranados/2017/06/20/gen-z-media-consumption-its-a-lifestyle-not-just-entertainment/#3c15fb3118c9

Grate, R. (2016). New Data on Millennials Reveals What Draws Them to Events. Eventbrite US Blog. Retrieved 23 September 2017, from https://www.eventbrite.com/blog/millennials-event-trends-ds00/

Hargreave, S. (2016). Millennials Only Want Experiences That Can Be Shared on Social Media. HuffPost UK. Retrieved 23 September 2017, from http://www.huffingtonpost.co.uk/sam-lewishargreave/millennials-only-want-exp_b_11429578.html

Havighurst, C. (2015). The Devaluation of Music: It’s Worse Than You Think. Medium. Retrieved 22 September 2017, from https://medium.com/cuepoint/the-devaluation-of-music-it-s-worse-than-you-think-f4cf5f26a888

Hickman, A. (2017). Nine stung by poor ratings and shrinking ad market. Adnews.com.au. Retrieved 21 September 2017, from http://www.adnews.com.au/news/nine-stung-by-poor-ratings-and-shrinking-ad-market

How the Australian Music Industry Works. (2017). Music Australia. Retrieved 22 September 2017, from http://musicaustralia.org.au/discover/the-professional-music-industry/how-the-australian-music-industry-works/

IFPI Global Music Report 2016. (2017). Ifpi.org. Retrieved 22 September 2017, from http://www.ifpi.org/news/IFPI-GLOBAL-MUSIC-REPORT-2016

Jones, M. (2010). The Greening of the Music Industry. Thembj.org. Retrieved 22 September 2017, from http://www.thembj.org/2010/05/the-greening-of-the-music-industry/

Jones, P. (2007). Music industry increasingly in tune with environmental revolution. PopMatters. Retrieved 22 September 2017, from http://www.popmatters.com/article/music-industry-increasingly-in-tune-with-environmental-revolution/

McNeill, F. (2016). Why musicians shouldn’t be judged for playing on political party platforms. The Conversation. Retrieved 22 September 2017, from https://theconversation.com/why-musicians-shouldnt-be-judged-for-playing-on-political-party-platforms-64327

Moskov, A. (2016). 4 HUGE Trends in the Music Industry for 2016/2017. Medium. Retrieved 22 September 2017, from https://medium.com/@AlexMoskov/4-huge-trends-in-the-music-industry-for-2016-2017-63b6924f4c2e

Rodgers, S., & Thorson, E. (2017). Digital advertising (3rd ed., p. 117). Taylor & Francis eBooks.

The Brisbane Eisteddfod. (2017). The Brisbane Eisteddfod. Retrieved 21 September 2017, from https://www.brisbaneeisteddfod.org.au

Vella, R. (2017). Music industry faces digitisation challenges, but all is not lost. ABC News. Retrieved 21 September 2017, from http://www.abc.net.au/news/2016-11-28/why-music-is-not-lost/8055044

Washenko, A. (2017). Nielsen 2016 report: “Music consumption is at an all-time high”. Rainnews.com. Retrieved 22 September 2017, from http://rainnews.com/nielsen-2016-report-music-consumption-is-at-an-all-time-high/

Whigham, N. (2016). Rights holders and movie industry primed for major piracy crackdown in Australia. NewsComAu. Retrieved 22 September 2017, from http://www.news.com.au/technology/online/piracy/right-holders-and-movie-industry-primed-for-major-piracy-crackdown-in-australia-say-graham-burke/news-story/c0ca29df1df308a24ac0dda4a3749c19

Wilson, Z. (2016). Labor Promises Millions For Australian Music Industry. Music Feeds. Retrieved 22 September 2017, from http://musicfeeds.com.au/news/labour-promises-millions-australian-music-industry/

Youth Marketing | What is Youth Marketing?. (2012). Marketing-schools.org. Retrieved 23 September 2017, from http://www.marketing-schools.org/types-of-marketing/youth-marketing.html

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