Dans un marché de la musique qui se réinvente, la publicité a pris des allures d’Eldorado. Alors qu’Edward Sharpe (Peugeot, Citroën, Microsoft), remplissait l’Ancienne Belgique, plongée dans le monde de la synchro publicitaire.
Lundi, Edward Sharpe et ses Magnetic Zeros remplissaient l’Ancienne Belgique. Pas le Club, le Box ou le Flex. La grande Ancienne Belgique. 2000 personnes rien que pour eux. Hippies poilus aux longues douilles adeptes de la vie et de la musique en communauté façon Polyphonic Spree… En 2009, personne n’aurait misé un kopeck sur l’illuminé Alex Ebert quand il a décidé de prendre ses distances avec le punk pour dancefloor d’Ima Robot et s’est réinventé en folkeux messianique envoyé sur terre pour sauver les hommes tout en restant susceptible d’être distrait par les femmes.
Son succès, le Californien, fils d’une actrice et d’un psychothérapeute musicologue, le doit en bonne partie à la publicité. A ces spots (Peugeot, Microsoft, Citroën, NFL, Ford…) qu’il a enquillés et qui l’ont transformé en sonneries de GSM pour ménagères de plus de 40 ans. Extrait de son premier album, Up From Below, sorti en 2009, Home est devenu un tube l’an dernier en France grâce à la publicité pour la Crossover.
Thomas De Mot travaille depuis pratiquement dix ans pour Strictly Confidential. La branche édition du Pias Group. Son boulot? Il place des chansons dans des films, des séries télé et, plus intéressant financièrement, des publicités… Dans son catalogue pour ne citer qu’eux se bousculent les Editors, Soulwax, Goose, Vitalic, les Girls in Hawaii… “J’ai en permanence en tête des dizaines de milliers de chansons. Nous gérons environ 500.000 titres. Certains appartenant à des labels américains qu’on représente en Europe. La synchronisation est un boulot assez particulier qui demande avant tout de se tisser un réseau tentaculaire. Pour placer des morceaux, il faut connaître les bonnes agences, les bonnes boîtes de prod, les bons réalisateurs. Après, il faut être présent. Faire connaître ses artistes. Occuper le terrain. On a par exemple quelqu’un pour nous représenter à Los Angeles…”
La pub est depuis quelques années, et au même titre que les séries télé, devenue prépondérante dans le marché de la musique. En ces temps difficiles, dématérialisés, individualisés, elle rapporte gros et joue un rôle de vitrine plus déterminant que jamais. Beaucoup de téléspectateurs, aidés par Shazam et autres logiciels de reconnaissance musicale, découvrent de nouveaux groupes entre deux programmes télé. Se retrouver dans une publicité, c’est un premier pas vers le succès et la crédibilité. Eventuellement un moyen de doper les ventes d’artistes encore méconnus.
The convergence of social, video and mobile technology is rapidly changing the face of advertising. Just over a decade ago, search and display ads were all a company needed to reach their target audience online. Search-related ads accounted for43 percentof total U.S. online ad revenue in the second quarter of 2013, with display-related ads constituting 30 percent. In today’s evolving online ad environment, companies need creative and out-of-the-box approaches.
A countless number of startups have emerged to meet the demand, many in the native advertising space. In fact, many industry and business leaders are hailing native advertising as the next big thing. A recent study found that users viewed native ads 53 percent more frequently than display ads. Below are five companies whose innovations helped shape the native, and overall, ad space in 2013:
BuzzFeed – Sponsored articles
BuzzFeed is a news and entertainment website which offers a selection of original reporting, as well as paid-for posts, covering everything from politics and fashion to food. Sponsored posts, which are created by a client-facing team separate from the editorial department (which reports on politics and other items), are central to BuzzFeed’s business model and have proven to be an effective advertising channel. Not only did the site get 140 millionuniques in November, according to VP Ashley McCollum, but additionally it is estimated that once BuzzFeed content goes viral it gets as much as 34 times the traffic it ordinarily would. While some have criticized BuzzFeed for blurring the lines between journalism and advertising, recent hires like former New York Times journalist Lisa Tozzi indicate that BuzzFeed is becoming increasingly serious as a news source.
Taboola – Sponsored recommended content
Taboola is a content recommendation and distribution platform that helps consumers discover new content likely to be of interest. The platform powers an average of three billion daily recommendations to over 300 million monthly visitors across publications such as USA Today, TMZ, The New York Times and Huffington Post. Content recommendation platforms have long been criticized for their lack of transparency. As a result, Taboola recently launched Taboola Choice — letting users flag content they don’t like — and has added “Sponsored Content” and “Promoted Content” indicators to its widget, all as part of a company strategy that aims to promote user empowerment and content democratization.
TripleLift – Sponsored images
TripleLift is is an image-based advertising platform which aims to replace banners with meaningful and engaging native image-based ads. The TripleLiftplatform repurposes a company’s images from social networks like Pinterestand turns them into ads which are designed to blend in with the other images on a webpage. TripleLift tracks the popularity of different images on social networks and repurposes only the most popular images. On the average day,TripleLift analyzes over 24 million images from brands such as Martha Stewartand H&M . Currently these native image ads can be found on sites like Foodgawker and Pictacular among others. Gucci also used the platform to launch its Fall/Winter 2012 digital campaign.
Disqus – Sponsored link
Disqus is a commenting service platform which can be integrated seamlessly into websites and blogs for interactive and engaging discussions. The Disqus platform adds a feature-rich comment system to sites, offering a host of community management features including social network integration and advanced administration. Disqus also offers a Promoted Discovery feature which appears in a box below the Disqus comments section and highlights other articles readers might like. This feature increases the number of pages viewed on average by 56 percent and time spent on pages by 166 percent. The platform has been well received and is being used by companies such as MTV ,American Express AXP +0.24%, Citibank and Intel to advertise their brand.
Songza – Sponsored playlists
Songza is a music platform which provides listeners with playlists tailored to their mood or current activity. In this way, Songza hopes to provide listeners with the best music for any particular situation. The tailored playlists are compiled by Songza’s team which includes music journalists, critics, DJs and musicians. Songza also offers a unique advertising channel which it calls Branded Moments, where any brand can sponsor a life moment such as driving or working out. Some of these life moments have already been sponsored by companies including Nissan, Samsung, Victoria’s Secret and Colgate. By sponsoring a playlist, brands are inadvertently interacting with consumers and getting them to associate positively with the brand.
The online browsing experience is becoming increasingly sophisticated and personalized. Online ads that hope to engage users need to adapt accordingly. The reality is that there is increasingly less room for intrusive online ads. These and other startups are beginning to usher in an ad revolution.
In Twitter’s own words, the way the world is experiencing TV, is fundamentally changing. Viewers have become more active and share experiences as the events unfold on television screen. The fact that tweeting about television programmes is becoming the new normal, Twitter has found itself being instrumental in how TV is actually measured. In order to capitalise on this opportunity twitter has started TV ad targeting. This was made possible by the acquisition of Bluefin labs and allows marketers to engage directly with people on twitter who have been exposed to Ads on the television sets. Here is Techcrunch’s take on the development:
“Twitter TV Ad Targeting lets advertisers target these people with Twitter Promoted Tweets ads that show up in their stream. Those could include pure text tweets reinforcing the commercial, a link they can follow to learn more or make a purchase, or even a Vine to give viewers a second dose of video marketing”.
So is this new strategy working? Well in an analysis conducted for Twitter, advanced marketing analytics firm MarketShare, has found that TV ads were more effective when combined with Twitter paid advertising for the category examined. This study – which focused specifically on new mobile service subscribers in the UK, has found that for mobile carriers, TV advertising generated new customers at an average of $131 [≈ Household daily income, 2011] each when there wasn’t Twitter paid advertising. But for those carriers combining television ads with Twitter advertising, customer acquisition cost for TV advertising dropped to about $83 or £50 – a 35% improvement.
“We have always believed that Twitter is a powerful complement to television, and this study supports that,” was the view of Adam Bain, President of Global Revenue for Twitter. “MarketShare’s ground-breaking work, using big data techniques and leading edge analytics, helps us quantify how Twitter can be a force multiplier, making television advertising even more effective than ever.” Twitter as a social force can directly boost TV ratings when users use the site to share their immediate reactions to a show, an August, U.S. Nielsen study reported. The TV industry is hoping to turn the tide of migrating viewers increasingly turning to DVRs and cloud services like Netflix and Amazon Lovefilm. Good luck with that. I can tuck into a Breaking Bad boxset anytime I like on Netflix, how is conventional tv going to compete with that?
As marketing complexity continues to expand, big brands will continue to seek new insights into how marketing channels interact, and how best to allocate marketing dollars. Fresh from its IPO, Twitter has quantified the financial impact of paid advertising thanks to Marketshare, on its platform with true return-on-investment metrics that can help brands make more informed marketing choices. It will interesting to see if future analysis will further explore the interplay between Twitter, TV and other marketing channels across more categories and geographies.
Digital video viewing is mainstream, and eMarketer estimates that 182.5 million people [≈ population of Brazil, nation] in the US, or 75% of all internet users, will view digital videos this year, and video advertising spending will increase by more than 40% in 2013 as well.
Video viewership and social sharing are closely intertwined; for example, an April 2013 blinkx survey conducted by Harris Interactive found that more than 40% of social network users watch TV or online video and simultaneously discuss content with their friends&mdashthe percentage was even higher among respondents ages 18 to 34, 14% of whom said they “always/often” do so.
Despite the connection between social network users and video content, social video advertising is still nascent. According to “Demystified: Video Advertising on Social Networks,” an August 2013 study from Mixpo, 8.5% of agency executives said they were underperforming on social video advertising, and none of the respondents said they were experts in the medium, according to the report.
Advertisers’ admitted lack of sophistication doesn’t mean they aren’t testing and experimenting. According to the Mixpo report, nearly 70% of agency executives planned to advertise on YouTube in 2014, while nearly one-quarter expect to run video ads on Twitter and about one in seven on LinkedIn. Though video advertising as Mixpo defines it doesn’t yet exist on Facebook, Instagram or Vine, nearly half of respondents to the survey said they would work video ads into their Facebook marketing mix if given the opportunity.
For social network users, identifying paid advertising and owned content marketing is often a blurry line. Mixpo’s definition of video advertising excludes branded video posts on social sites, but it doesn’t denote whether it refers to sponsored video posts, which are likely to be the types of paid video ads that will first find their way into Facebook, Instagram and Vine, given the networks’ respective user interfaces (and opportunities in mobile). Notably, Unisphere Research found in an August 2013 survey that nearly 60% of marketers would like to increase their video content in social networks&mdashmore than any other content category.
Social network advertising is unique because it requires marketers to fit in context with content rather than standing out from what the user is viewing, as a television or digital video programming advertisement is designed to do. As a result, sponsored video content may in turn be the most suitable way for advertisers to integrate and ingratiate themselves within social network users’ information feeds.
Social’s share of budgets will rise
Marketers from US business-to-business (B2B) and business-to-consumer (B2C) product and service companies reported in a survey from Duke University’s Fuqua School of Business that, on average, their digital ad spending would continue rising this year, though growth will be slightly lower than last year for the B2C product and B2B service sectors. Marketers from B2C product companies expected digital ad spending to rise 11.1% this year, compared to 14.6% last year. The growth rate for additional spending by the B2B service industry on digital advertising is expected to drop from 10.5% to 9.9% during the same period.
Meanwhile, traditional media will continue to lose dollars across nearly all sectors. Only the B2C product category will up investment, though by a minimal 0.8%.
In total, marketers anticipated in August 2013 that the total ad spend growth rate for the following 12 months would reach 4.3%, down from a 6.1% increase anticipated in February for the 12 months that followed.
The individual B2C and B2B sectors each saw a drop in anticipated ad spend growth compared with August 2012, when most sectors’ marketing budgets—excluding the B2B product sector—were still in more of a rebound mode.
Social media continues to be an area of focus—and uncertainty—for marketers, as they continue driving up spending on the digital format. In August 2013, social ad spending accounted for an average of about 6.6% of marketer budgets. Within the next year, that share was expected to rise to 9.1%, and in the next five years, marketers expected social to account for 15.8% of spending.
Interestingly, in August, the B2B service industry reported the highest percentage of the marketing budget going to social. In the next year, though, both B2C product and service sectors expected to spend more on social as a percentage of their budget compared with the B2B sectors.
However, even as marketers up investments in social, that doesn’t mean they are confident about how social plays into the overall business. Nearly half of marketers in the survey said they hadn’t yet been able to show the impact of social marketing on the business. About 36% did believe they had a good quantitative sense of social value, and more may begin to successfully quantify social return on investment (ROI) in the near future.
Vinyl & Advertising…
a nice B-2-B approach.
First, Twitter’s new Ads API allows companies like TBG Digital to buy promoted tweet campaigns against the nightly TV schedule, as if tweets were like TV ads. Why? Because people like to tweet while they watch TV. Here’s a chart from Twitter ad buyer TBG Digital showing the enhanced effect of advertising that also uses a Twitter campaign:
Second, Twitter recently acquired Bluefin Labs, a social TV measurement company. Twitter believes there is a strong, symbiotic connection between Twitter and TV watching — and it intends to prove that to advertisers with hard metrics.
Third, Twitter did a deal with Nielsen to measure the “brand lift” effect that promoted tweets have on consumers. Nielsen, obviously, is most famous for measuring TV audiences. It measures lots of other things as well, but it is not a coincidence that Twitter is using the company that sets the standard for TV measurement to also measure its advertising.
Lastly, Twitter president/global revenue Adam Bain just told the Adobe Digital Marketing Summit that advertisers don’t need complicated algorithms (hello, Facebook!) to deliver their messages. They can just look at who is tweeting about them: “There is no algorithm standing between you and your audience, if you have worked hard to get somebody to follow your brand… You are what you tweet, who you follow and what you re-tweet, and those are all great signals for what you are passionate about right now.”
Note that Facebook has made a bunch of similar moves. Both companies face the same macroeconomic logic: With the easy money already on their platforms, they now need to attack catagories where very large amounts of ad dollars — budgets that will move the needle into the billions — can be transferred.
And both Twitter and Facebook are making the same argument about “attribution.” Both companies believe they can show advertisers directly which ads are responsible for sales. (Bain told the Adobe meeting, “I’d love to see an evolution of attribution. … We think it could be bigger and better.”) That’s a powerful argument because television, infamously, has difficulty showing advertisers that the people who saw their ads then bought the products because of it.
The difference between Twitter and Facebook, however, is that Twitter needs TV shows to generate topics for people to tweet about. Facebook, however, appears to be leaning toward becoming its own major video platform, like YouTube is, and doesn’t need the traditional TV industry to survive.