London Metropolitan University

Faculty of Applied Social Sciences

MA Digital Media Dissertation (CMPP08N)

Online promotion and live

music events
Silvia Destefanis
(Student id 09030159)

September 2010
 In the loving memory of Simona

Acknowledgments

It has been a long year; this work is the result of intense and
passionate studies and of a personal evolution path. I had the
fortune to be surrounded and supported by great people. I would
like to express my enormous appreciation to them all.
First to my supervisor, Elena Moschini, for the knowledge she
transmitted and for the human and academic support she always
provided.
I'm grateful to my lovely sister Marialaura and to my friends Cissy
and Theo for their precious writing clues.
I thank my Father for understanding my restlessness and my
motivation.
I feel the care of all my friends, especially Corrado, Nico, Juri and
Costa.
A special thanks to my patient housemates, who always turn down
the music and asked "How does your work is going?"
Finally, thanks to Julian for the inspiration.
 Abstract

This thesis provides an analysis of digital tools and strategies for

shaping the Live Music Festivals experience and galvanize the public
involvement.
The Internet peculiarities of interactivity, customizability, and speed
pledge challenging fields for marketers in which develop creative
and dynamic strategies, tailored for the empowered and interactive
audience.
The purpose of this comparative case study is the evaluation of the
best practice of the online event promotion. Juxtaposing the
promotional campaigns of 'Bloc Weekend' and 'South West Four'
festivals, the paper explores the application of issues such as
branding, design, social interaction and performance monitoring,
targeted to the creation of an effective value proposition that
tackles music as cluster of cultural values and networking.
Contents

Acknowledgements p.I

Abstract p.II

1 Introduction
p.1
1.1 Topic p.1

1.2 Aims of the Dissertation

p.1

1.3 Areas of Research

p.1

1.4 Objectives
p.2

1.5 Rationale
p.2

2 Literature Review
p.3

2.1 Around the music consumption

p.3

2.2 Upgraded services for empowered audiences

p.4

2.3 Pulling the emotions offline. The festival experience

p.5

2.4 Dominating dynamic flows

p.7

2.5 The experience mosaic

p.8

2.5.1 Branding
p.8
 2.5.2 Inner marketing
p.9

2.5.3 New social life: buzz, blogs and peers

p.10

2.5.4 Richness and speed

p.11

2.5.5 Towards new aesthetic principles

p.12

2.5.6 Ties and trust

p.13

2.5.7 Monitoring wizards

p.13

2.6 Summarization p.
14
3. Research Method
p.15

3.1 Introduction p.15

3.2 Identification of the field of analysis

p.16

3.3 Online field observation

p.17

3.4 Online ethical concerns

p.17

3.5 Learning from the field: interviews with the insiders

p.17

3.6 Interview ethical concerns

p.18

4.South West Four and Bloc digital promotions

p.18

4.1 Introduction p.18

4.2 Music: the heart of the festival

p.19

4.3 Bold brands engage dynamic users

p.21

4.4 Shared and participative culture

 p.25

4.5 Visualising the experience p.

28

4.6 Managing ROI and online reputation p.

31

5. Conclusion
p.33

References p.34

1. INTRODUCTION

1.1 Topic

This research aims to examine the potentiality of the new media

strategies, tools and marketing techniques for the creation of a
contemporary promotion approach of live music events.

1.2 Aims of Dissertation

Throughout the exploration of the contribution and the challenges

faced by the Music Industry in the electronic marketplace, this
paper explores the implementation of digital technologies
communication tools within promotional strategies of Live Music
Events and their sustainability.
Keeping in regard the sociological implications of the interactive
environment, this thesis will evaluate the best practice in the
contemporary PR techniques.
The paper will evaluate the role of social networking, web analytics
and interface design in the creation of the online user experience.
The scope will be achieved by means of the analysis and the critical
assessment of the latest e- marketing and e-advertising techniques
employed in the organization of a Live Music Performance within the
participative culture, peculiar of the wired environment.

1.3 Areas of research:

• E- Marketing and PR issues:

This area of studies addresses the traditional marketing and
promotion methods embedded in the technological framework. The
peculiarities of the electronic marketplace are source of powerful
implements as well as challenges to marketers. For instance, the
potential broad range of public along with its interactive power
could enhance or injure the reputation of the business (Bilton,
2007).
• Interactive Advertising
The exploration of limits and options within the variety of tools
available for the creation of an online promotional campaign is
aimed to critically identify the best practice to involve and establish
long-term engagement with the target market (Chaffey, 2009).
• Digital Media and Youth Culture
The public of music live events, specifically the case studies of this
dissertation, is composed of young people. Their high involvement
with digital media, with the Internet mainly, is the field in which
building up the promotion of the event.
The analysis of the sociological framework is essential for a clear
and complete communication plan (Jenkins, 2006).
• E- commerce
The websites of the live music festivals under analysis are the
channel for the tickets retail. Online commerce should keep in
regard the transactional ethics, privacy and security issues that set
the bond of trust with the public (Sandulli, Martin Barbero, 2007).
• Usability and accessibility
The web 2.0 essential feature is interactivity, it allows users add and
edit contents, share opinions and networking. These peculiarities
arise the necessity of a user centered design perspective in the
whole communication process. The approach, eases the online
operations, and is aimed to the customer generation or retention
(Nielsen and Loranger, 2006).
• Best Design Practice
Designing the online environment that introduces the public in the
featured live music experience, means identify its needs and taste,
to endorse the hedonic side of navigation and mirror their cultural
expectations.
In order to realize an effective communication, the web design
challenge is to rationalize creativity and commit to standards and
universality (Armstrong, 2009).
• Strategic management in the music industry
Thanks to the Internet features of interactivity, bandwidth and
speed users have become new actors in the music distribution
supply chain; therefore the traditional business approaches are
overcome. The unpredictability of the audience moods test
marketers’ expertise to continuously review and 'revitalize' strategic
plans, which will offer them effective and competitive experiences
(Graham, 2004).

1.4 Objectives:

The research has the scope to evaluate a contemporary perspective

of the music business analyzing the melt of the most traditional
form of music consumption: the live event, with the contemporary
e- marketing and promotion policies.
Aiming to define a clear framework for the online promotional, the
examination will deeply probe into the technological and aspect of
the electronic commerce and propaganda with the aim of analyzing
the related social attitude towards new media.

1.5 Rationale:

The dynamism and customizability of the Internet have remarkably

affected the control of the Major labels, and convey to a
transformation in the distribution, contents and audience behaviors
of the music business.
The convergence of media changed the paradigm both from the
enterprises and the consumers’ point of views: the peer-to-peer
sharing of music files had a significant impact on the traditional
distribution channels and supply chain.
Internet users perceive music as part of the interactive
environment, which allows them to listen, watch, read, and also
generate contents or exchange feedbacks.
Furthermore, virtual marketplaces have a broad accessibility;
consequently artists gain freedom from the intermediation of labels,
and dispose of all the means to involve the public trough their
online existence.
The avenue to engage the audience and monetize on music is to
build a valuable experience in which enjoy the core product. This
branding building is often linked to new creative synergies with
other industry branches and related areas of entertainment or
merchandising.
In this context, live performances are playing a key role in the
recent cross media approach of the music promotion, which is
moving towards the purpose of fulfilling the needs of the interactive
and open-ended public, trough the strategic employ of the most
advanced e- marketing techniques and Electronic Customer
Relationship Management (e- CRM).

2. LITERATURE REVIEW

2.1 Around the music consumption

The impact of the Internet on the model of music distribution has

changed the dynamics of the music industry (Graham et al, 2004;
Van Heur, 2008; Hutchinson et al, 2010; Kretschmer et al, 2001;
Kusek and Leonhard, 2005; Leyshon et al, 2005; Meisel and Sullivan,
2002; Passman, 2009; Vaccaro and Cohn, 2004). The
transformations brought about by this 'digital shift', drive to the
identification of a historical cycle (Gelder and Robision, 2009;
Morgan, 2008). Benkler (2006) presented the story of the music,
highlighting that music performances are regaining their traditional
predominance as approach of the music consumption. Music
performances whether professional or amateur, were perceived as
moments of communitarian congregation (Kusek and Leonhard,
2006). With the introduction of mechanical apparatus of
reproduction, the music fruition has moved into a more private and
standardized practice. This evolved into the production regulated by
the Major Label distribution; build around the sale of music as
industrial hardware product: vinyl, and then CD (Benkler, 2006).
The Adorno and Horkheimer 'Dialectic of enlightenment' (1973), a
classical critic to the commercialization of the intellectual product,
analysed the business model in which popular music is relegated as
mean throughout the record labels attract the mass consumption.
The record labels business model monetised on the music
entertainment aspects, superintending the economical procedures
and influencing content and style. The imposed standards
remarkably harmed the creativity and diffusion of innovative
compositions (Adorno and Horkheimer, 1973; Du Gay, 1997;
Leyshon et Al, 2005; Negus, 1998).
The technological evolution towards a networked model is changing
the paradigm and leading back to the traditional values of artist and
public. The electronic marketplace is creating the ideal framework
for products differentiation and specialization, which targets at the
direct engagement of the target audience (Graham et al, 2004). The
public, in its side has been empowered by the customisability and
interactivity of the Internet (Anderson, 2006; Emery and Tian, 2010;
Gaffey and Raferty, 2009; Graham et al, 2006; Jarvis, 2009; Jenkins,
2006; Jenkins and Deuze, 2008; Kozinets, 2006; Kursan and Mihić,
2009; Kusek and Leonhard, 2005; Leyshon et Al, 2005; Pelsmacker
et al, 2010; Ryan and Jones, 2009; Singh et al, 2008).
In the context of online active participation, Morgan (2006)
elaborating the analysis of the motivation to attend to a music
festival, investigated the folk music message board 'Mudcat'. The
online blog became the melting pot in which the attendees at the
2005 Sidmouth Folk Festival were 'providing the researchers with a
wide-ranging and unprompted set of opinions on the criteria for a
successful festival' (Morgan, 2006).
The relevance of blogs and social networks as channels in which
collective impressions can be sourced and direct engagement made
with the audience is a key factor in the contemporary music
distribution (Chaffey, 2010; Ryan and Jones, 2009; Singh et al,
2008). The tendency manifests the Internet as a catalyst for direct
connection between artist, production and public (Graham et al,
2006) diminishing the boundaries between these groups, and
reconnecting them to the primordial sense of social congregation
around the music performance.

2.2 Upgraded services for empowered audiences

In the book 'The Future of Music: Manifesto for the Digital Music
Revolution', the authors delineated the contemporary scenario of
the music industry and traced the pattern of music evolution from
product to service (Kusek and Lehonard, 2005).
The authors detected the potential future venues for the music
industry declaring the difference between 'record business' and
'music business' and remarked the relevance of live shows, concert
and festivals as sources of profits. The study acknowledges that the
Internet 'technology embraced wholeheartedly in the concert and
touring business, whether in the production sectors (lights, sound,
multimedia), logistics (booking and accounting communications)'
(Kusek and Leonhard, 2005). This effortlessness of the wired
environment for the promotional stage of music has been detected
as well in the Waddel (2007) chapter on the best practice for the
event promotion. The analysis recommended the ' reaching of a
target audience, researching past history of similar events,
budgeting cost efficiently, and making use of the available tools in a
comprehensive manner to maximize impact (Waddel et al 2007, p.
193).
The Internet makes available to the marketers a combination of
tools for new forms of direct marketing, such as linking
recommendations, collaborative filtering, promotion engines, in
addition with social networks and blogs (Kusek and Leonhard, 2005;
Waddell et al, 2009). The relevance of building and maintaining the
direct connection with the public is a core issue both in the
academicals and in the industrial debate (Advertising Age, 2010;
Bart et al, 2005; Boorsma, 2006; Chaffey, 2010; Chan- Olmsted,
2004; Diorio, 2001; E-consultancy, 2009; Haeilen and Kaplan, 2009;
Henderson, 2010, Kursan and Mihic, 2009; Jarvis, 2010; Jones et al,
2008; Meisel and Sullivan, 2002; Meerman- Scott, 2010; Myron,
2010; Obringer, 2010; O'reilly, 2005; Pelsmaker et al, 2010; Peltier
et al, 2003; Ryanand Jones, 2009; SDL, 2010; Schmitt, 1999;
Schmitt, 2009; Shimp, 2010 ). Henderson (2010) in particular
described 'The 10 key online marketing for 2010', calling the
attention on the proliferation of online channels in the contemporary
marketing plans and the advantages consequent to their
exploitation for a successful marketing campaign.

The basic, traditional theory of marketing sets as core principle the

individuation of the target audience (Hutchinsons, 2010). The
Boorsma study (2006) traced the framework for an arts marketing
strategy that focuses on the pursuit of artistic value and, applies a
customer- centred approach. To clarify the audience’s active role in
the creation of meaning, the researcher quotes a further classical
marketing core principle: 'the organization creates values for
customers that satisfy their needs, while, in return, customers
deliver values that contribute to the achievement of the
organization’s main objectives. Marketing’s primary task is to
optimize these exchange relationships' (Boorsma, 2006, p.76- 77).
In this context, Bilton (2006) specified that post- modern marketing
techniques allow addressing the customer as 'market for one’; the
relevance of the individual model of communication has been
identified in various studies (Chaffey, 2009; Schimp, 2010;
Schumann and Thorson, 2010; Strafford and Faber, 2005).
Referring back to Bilton's research (2006), users, besides looking for
personalised solutions, have the inclination to gather themselves in
groups. The sense of community is often constructed around the
users' cultural consumption taste and preferences, along with the
symbolic value they associate to cultural products.
Cova (2007), entitled his sociological study 'Consumer Tribes': the
term 'tribes' has been referred to 'the huger of community,
expression, sense of transcendence, a natural state' and embrace a
marketing approach that rejects both the individualistic and the
'abstract modernistic structures' (Cova, 2007, p.7). The analysis
proposed by the author, is instead addressed to the exploration of
social groups shaped around social and cultural common interests
and attitudes (Bilton, 2006; Boorsma, 2006; Cova, 2007; Van Heur,
2008; Long and Robison, 2006). In addition, the oeuvre in matter,
studied the upgrading of the consumer from the traditional passive
connotation. The sociologist recognized the active role beyond the
mere consumption of goods, which is recognized also in the
Boorsma research (2006). New technologies prompt the scenario for
networked and interactive communications. These devices entitle
the audience to add their values and 'pull' ideas and contents,
instead of passively absorbing the contents 'pushed' by traditional
media (Bilton, 2006; Deuze, 2006; Negroponte, 1995; Jenkins, 2006;
Jenkins and Deuze, 2008; Hutchinsons, 2010).
According to Jenkins and Deuze (2008), the 'Cultural flows' (Jenkins,
2006) affect moods and attitudes, and determine the online 'highly
emotive' consumer decision process (Jones et al, 2008). The authors
underlined the mediation role of digital media 'between people,
communities, organisations, institutions, and industries' (Jenkins and
Deuze, 2008, p 8). Their utilisation changed the paradigms of
communication between brands, artist and public towards a
'creative consumption' in which audience is enabled to provide their
opinions, therefore to determine the product success or failure
(Bilton, 2006; Kozinets, 2007; Jenkins and Deuze, 2008).
The Creative consumption's output is made up of experiences more
than products (Bilton, 2006; Boorsma, 2006; Cova, 2006): the online
music festivals promotion should be conceived as the mirror of the
audience expectations and perceptions of the offline emotions they
will actually meet during the performance (Morgan, 2007; Gelder
and Robinson, 2009; Kusek and Leonhanrd, 2006; Passman, 2009;
Waddell et al, 2010; Leyshon et al, 2005).

2.3. Pulling emotions offline. The festival experience

The recent proliferation of music festival is remarked in a variety of

sociological and marketing studies; the findings call the attention to
the sociological and demographical motivations to attend to these
events. The aim of these researches is to advise marketers and
organisers towards the best practice for setting up the experience
package for the target audience (Boorsma, 2006; Gelder and
Robinson, 2009; Kusek and Leonhard, 2006; Long and Robison,
2006; Morgan, 2008). All these studies detected homogeneous
motivations to attend to a live music performance. These
inducements are strictly connected with the recent social disposition
to assemble around shared symbolic shared values, connected with
the sense of disaggregation emerged in the globalized society
(Bilton, 2007). The specific reasons emerged from these
investigations include the following: atmosphere, experience,
socialising with friends and family, involvement, music and artists
line up, meeting new people, romance, holiday, escape from daily
life, novelty, general entertainment, recreational drugs, enjoyment,
celebration, enlightenment and education (Gelder and Robinson,
2009; Long and Robison, 2006; Morgan, 2008). Marson and
Beaumont- Kerridge (in Long and Robison, 2006) classified the
mechanisms that result in visitors’ participation and satisfaction,
thus predisposition to repeat the experience (Gelder and Robinson,
2009). They distinguished 'physical needs', such as eating, drinking,
taking exercise, relaxing and meeting people from 'social needs', or
friendship, romance, family relationships and seeking cultural roots.
The researchers also individuated the 'personal needs': seeking for
experience and knowledge. Morgan (2008) sharpened the
classification starting from the division into 'push' and 'pull' factors
referring to attendees’ motivation. The definition given by the
essayist can be associate to the 'push' and 'pull' media
differentiation discussed above (Bilton, 2006; Deuze, 2006;
Negroponte, 1995; Jenkins, 2006; Jenkins and Deuze, 2008;
Hutchinsons, 2010).
'Pull factors are the attractions of the destination [...] while push
factors are the personal needs that a visit is seeking to satisfy'
(Morgan, 2008, p. 83). The author prosecuted the discourse with a
further taxonomy of the 'pull' motivations, distinguishing the
'internalisation factors', related to the cultural and symbolic values
emerged from the experience; and 'externalisation factors', such as
the merits of the overall logistics and organisation and the social
interactions (Morgan, 2008). Multiple analysis attribute noticeable
relevance to the presence and effectiveness of ancillaries’ activities
for the successful festival organisation. The 'side components'
contributes not only to revenues, but especially they convey to the
shape of the festival in a whole (Gelder and Robinson, 2009; Long
and Robison, 2006; Kusek and Leonhard, 2006; Morgan, 2008;
Waddel et al, 2006). Furthermore the presence of collateral
occurrences promotes collaborative partnership and ventures, which
have been improved and made smoother within the networked
environment (Jarvis, 2010; Kusek and Leonhard, 2006). According to
these studies, the data emerged from the researches should
become elements for the marketers to approach and orchestrate
the interactive user, considering the entire spectrum of reasons to
attend and rate highly the experience. The consideration of these
factors should adopt as the effective approach to the electronic
marketplace. The Internet advent has broken the traditional supply
chain introducing new dynamic and actors (consumers), real time
interactions, and direct connection with public; these fragments
have to compose the 'experience mosaic' (Boorsma, 2006; Sametz,
2010; Graham et al, 2004; Gelder and Robinson, 2009; Long and
Robison, 2006; Kusek and Leonhard, 2006; Morgan, 2008; Bilton,
2006; Chaffey, 2009; Ryan and Jones, 2009). The contemporary
framework requires a more creative marketing approach, in which
marketers become the virtual coordinators who structure the flow of
information within the net (Graham et al, 2004; Bilton, 2006). The
Kozinets 'netnography' theory proposed an immersive and
participative observation of the online behaviours. The method
takes origin from ethnography and its direct approach should ease
the process of managing the ever- changing moods and opinions of
the interactive customers and their online connections and activities
(Haenlein and Kaplan, 2009). The direct collection and monitoring
(Ryan and Jones, 2009) of consumer insights constitute the essence
of the e- business strategy or 'fusion of existing approaches to
business, and marketing with information system technologies'
(Chaffey, 2009, p. 259). The practice should be aimed to provide a
live music experience that offers unrivalled and up to date level of
promotional, organizational, cultural and personal features that will
ensure customer participation and satisfaction (Bilton, 2006;
Chaffey, 2009; Gelder and Robinson, 2009; Kusek and Leonhard,
2006; Long and Robison, 2006; Morgan, 2008).

2.4 Dominating dynamic flows

Operating in the electronic marketplace, the challenge is the
unpredictability of the users response (Jenkins, 2006): marketers
have to be proactive in renewing and evolving their strategies
(Mintzberg et al, 2002) in order to identify, anticipate and satisfy the
audience needs (Caffey et al, 2009 p.416). With regard to the
artistic production, the Mintzberg study (2008) reports that 'respond
to the cultural impulse to be different, means deliberately choosing
a different set of activities to deliver a unique mix of value'
(Mintzberg et al, 2002, p.18). The selling proposition should be built
around the offer of meaningful, distinctive and targeted consumer
benefits. The whole approach should shape the brand identity
around the principles of consistency, uniqueness, and clarity
(Anderson, 2006; Boorsma, 2006; Chaffey, 2009; Jarvis, 2009; Jeh,
2001; Henderson, 2010; Kusek and Leonhard, 2006; Myron, 2010;
Pelsmacker, 2010; Scott, 2010; Shenin, 1998; Schimp, 2010;
Schmitt, 2009; Schuman and Thorson, 2010 ).
The Boorsma analysis (2006) expounded the conditions to promote
a considered audience involvement in the arts marketing. The
author discloses that the balance of the cultural value with the
customer value should avoid the audience pitfall, due to the
production of 'safe, consumer-oriented arts products, which, in the
end, may not be what the audience either wants, or needs'
(Boorsma, 2006, p.74).
The awareness of the frail border between underground tendencies
and mainstream flows leads to the investigation of the 'early
adopters' orientations, in order to get insights around the ultimate
trends (Bilton, 2006; Boorsma, 2006; Cova, 2007; Leyshon et al,
2005; Ryan and Jones, 2009; Shimp 2010). 'Early adopters' are the
market segment outlined within the illustrious 'Diffusion of
innovation' theory (Rogers, 1962). Often defined as influencers
(Scott, 2010) they are opinion leaders, in position to impact the
product success on the majority of the market (AdAge, 2010;
Armstrong, 2009; Bilton, 2006; Chaffey, 2009; Econsultancy, 2010;
Jervis2010; Scott, 2010). Early adopters are prone to test and use
new technology. They are attracted by novelty carried on by
advanced solutions and services. The category of influencers have a
significant peer prestige within the Internet: the environment
encourages innovations and new services, enhanced by the
unceasing realizes of beta versions and new realizes (Jervis, 2010,
Rogers, 1962; Scott, 2010). Their opinion can impact the purchase
behaviors of the majority of users. Communication channels typical
of the digital arena, such as Social Networks, Blogs, and Forums are
the virtual spaces in which early adopters manage their power to
harness or destroy the reputation of a product or a service (Ryan
and Jones, 2009).
According to the Shimp thesis (2010) engaging the audience
throughout the process of identification is a valuable tactic in order
to produce effective reception of the messages. The identification
psychological mechanism occurs when the audience highly
estimates the endorser opinion and become prone to an imitative
behavior, that will induce them to opt for a product or a service
(Shimp, 2010). Therefore, a personalized service, along with a
significant value proposition that includes the exploitation of
prestigious testimonials and partners, is more feasible to conquer
the favor of early adopters, and consequently of their 'followers'
(Chaffey, 2009; E-consultnacy, 2010; Ryan and Jones, 2009).
The term 'followers' is peculiar of the Internet jargon and proper of
the medium's communication channels, such as social networks: the
virtual spaces in which users congregate themselves around cultural
and personal interests. The tendency of gathering calls the attention
an additional peculiarity of the contemporary cultural consumption,
expounded in the Anderson's 'Long tail' theory (2006). The writer
describes the contemporary market tendency as consequence of
the decline of the mass consumption that flown into the proliferation
of niche markets, characterized by high specialization and
fragmentation. The findings of the Anderson study demonstrate that
the sum of the sales of the niche products outclass the number of
sales of mainstream product (Kusek and Lehonard, 2006; Scott,
2010; Jarvis, 2010). The electronic marketplace is grounded with
opportunities for marketers to 'broaden the scope of marketing and
narrow its focus at the same time’ (Ryan and Jones, 2009 p. 39)
aiming to build a solid online reputation and long-term audience
engagements. These practices are defined as E- CRM: electronic
customer relationships management, that pursuit the objective to
achieve the best exploitation of the new technology potential,
targeted to customer selection, acquisition, retention and extension
(BusinessLink, 2010; Chaffey 2009; Kursan and Mihić, 2009). The
practice of e-CRM discipline should converge to the creation of a
consistent and effective website that will constitute the melting pot
of all the marketing efforts that have composed the experience in
its whole (Chaffey, 2009; Ryan and Jones 2009; Shimp, 2010).

2.5 The experience mosaic

2.5.1 Branding

According to Shimp (2010) the effective audience targeting cannot

be dethatched from brand positioning, or rather the set of activities
aimed to the creation of a valuable and competitive message that
will catch the audience attention.
The creation of a branding style results in the association with
symbols, champions, contents and messages that create the
'personality', or rather the 'value proposition' of a brand (Chaffey,
2009; Curlo, 1992; Schmitt 2009, Shimp, 2009). In addition, the
trademark portfolio offered through the various channels and tools
will build the branding experience, and therefore lead to long-term
customer engagement (Shimp, 2010; Schmitt, 2009, Chaffey, 2009).
The purpose is matching customer’s needs closely: the brand
experience should generate mental associations that store in
memory a favorable, strong, and unique brand perception.
The analysis conducted by Norman (2010) promoted the
construction of the brand value proposition around these four
principles: 'relevance, consistency, simplicity and clarity'. The
validity of these criteria as key drivers of communication
effectiveness has been reaffirmed in the Ryan and Jones treatise
(2009). And further elaborated in the Sametz article (2010), that
establishes the relevance of conveying 'a top-level main message
that states to everyone what you always stand for; [...] a core idea
or value from which all other messages flow' (Sametz, 2010).
In addition, the Internet is an interactive environment, where
customers can effectively become co- producers of the added value
of the branding experience (Chaffey, 2009).
This perspective leads to the consideration of the brand website as
harmonic cluster of every part of the promotional endeavours,
aimed to create a 'total customer experience' (Chaffey, 2009; Rjan
and Jones, 2009; Scmitt, 2009; E- consultancy, 2010).
According to the Razorfish study on the impact of brand websites to
the public (Schmitt, 2009) '97% -of customers- report increased
brand awareness; 98% show increased consideration; 97% will likely
purchase a product from the brand; and 96% may recommend the
brand to their friends' (Schmitt, 2009 p. 11). Furthermore when the
user actively engages with the brand and can promote the value
proposition within the online and offline connections and peers
(Schmitt, 2009; Chaffey, 2009; Shimp, 2010; Ryan and Jones, 2009).

2.5.2 Inner marketing

Marketers and producers operative within the cultural field have to

enhance the symbolic meanings and values of cultural products.
They are expected to give raise to extra values promoting all the
intangibles around those services that form customer perceptions,
thoughts, emotions and attitudes, and that are significant to the
consumer's personal and 'retribalized' identityis and lifestyles.
(Bilton, 2007; Cova, 2006; Mininni, 2005; Shimp, 2010; Jones et al,
2008).
In 1999 Schmitt proclaiming the 'supremacy of the Brand',
recognized that customers are both rational and emotional
individuals; therefore their consumption attitude would be endorsed
by 'memorable and rewarding brand experiences' (Schmitt, 1999).
The author outlined a new conception of marketing, the Experiential
Marketing, which aims to create harmonious experiences, and
proposed four 'strategic experiential modules sense'. These
methods are meant to generate sensory experiences (Sense); recall
to the customer’s inner feelings and emotions (Feel); engage the
intellectual and educational needs (Think); and porpose compelling
environments and situations (Act) (Shimtt, 1999).
The application of these principles endorses and strengthens the
branding uniqueness. Consequently, the methods can constitute a
valuable practice in the organization of a live music experience,
acknowledged as a broad socio- cultural context in which products
and services are showcased (McKay, 2008; Mininni, 2005; Schmitt,
1999).
The new interactive domain of web 2.0 provide marketers of further
techniques to effectively reach and engage the designated
marketing segment: availing of the 'permission marketing'
approach, they can offer set of options to customize the experience.
The method, enable users to proactively choose the services they
actually want to subscribe, and to give just as personal details as
they consider functional for their needs. This strategy enriches the
value proposition and allows to structure, address and tailoring the
promotional messages (Chaffey, 2009; Pelsmacker et al, 2010;
Mintzberg et al 2002; Shimp, 2010; Ryan and Jones, 2009; Duncan,
2006; E- consultancy, 2010).
The permission marketing approach is outstandingly valid in the 'e-
mail marketing’: previous the permission of receiver, the e- mail tool
can be used for the customer information and retention. Moreover,
this method predisposes the unleashing of the 'viral' component of
the Internet marketing.
'Viral marketing' avails of the identification of incentives that
encourage customers to pass along marketing messages to their
networking connections as well as the research of products that
engage the attention of early adopters (Yeh, 2001; Scott, 2010). As
a matter of fact, if an email message is considered worthwhile, is
immediate and customary to 'forward' it to peers and contacts
(Pelsmacker, 2010; RedEye, 2010).

2.5.3 New social life: buzz, blogs and peers

The employ of viral marketing as e- communication strategy could

be both powerful and harmful for the online reputation. The
controversial influence of the opinion of the public necessitates to
be canalized towards effectiveness. The effective utilization of viral
channels of communications requires the continuous commitment of
the brand towards the direct interaction with the users in order to
proactively respond to their mood variations (Chaffey, 2009; Diorio,
2010; Econsultancy, 2009;Experian, 2010; Haenlein and Kaplan,
2009; Henderson, 2010; Hutchinsons et al, 2006; Myron, 2010;
Pelsmacker, 2010; Shimp, 2010; Yeh, 2001 ).
According to Singh (2008), blogs performs as viral marketing: they
entail a well-defined structure that allows the dynamic diffusion of
the marketing communications through the interactive dialogue
with the public. Moreover, blogs offer promotional tools such as RSS
feed or rich media embedding. The author warns marketers towards
both the creation of corporate blogs, and the constant observation
of the 'influencers' blogs where they diffuse their opinions and
evaluation to their contacts and upholders (Singh et al, 2008).
These implements 'support integrated marketing communications in
the direction of a positive word of mouth, based on the favourable
brand reputation' (Singh et al, 2008, p. 284).
Further marketing efforts towards the construction of long-term
engagement of the public are social networks. In the last few years
we are witnessing at the phenomenon exponential expansion: these
media are revolutionizing the approach to the web, entitling
everyone to the publication of photos, videos, text and music within
a structured network of peer-to-peer contacts (Larson, 2009). The
tendency, in accordance with Gangadharbatla (2008) examination,
is strictly connected to two primary human feelings and emotions:
need to belong and collective identity. Social networks, in fact offer
the framework in which build the net of fellows, relatives and all sort
of ties; in which sharing with them links, tags, pictures, videos,
songs. Within these interactive environments users can build their
online identity and messaging systems; additional tools such as
microblogs and direct chat enhance their flow of information,
opinions and experiences (Gangadharbatla 2008). These findings
reaffirm and strengthen the principles expounded by Bilton (2006)
and Cova (2007) about the creative and shared cultural
consumption within the contemporary tribes. Moreover they support
the online immersion approach as a good practice to identify and
analyze the effectiveness of the promotional strategy, through the
comparison with the audience impressions and responses (Kozinets,
2006).
Nowadays, those websites have become a largely adopted channel
for the e-marketing strategy. The creation of the social network
brand profile is an up- to -date practice in the contemporary
industry scenario and opens a wide range of opportunities. Those
channels are the melting pot of the viral marketing endeavors: the
public can interact with the brands trough their favorite network,
and exchange opinions on the products and services with their
friends (Chaffey, 2009; Diorio, 2010; Graffney and Rafferty, 2009;
Kaplan and Haenlein, 2010; Keane, 2010; Iab, 2010; Mangold and
Faulds, 2009; Myron, 2010; Pelsmacker, 2010; Shimp, 2010; Yeh,
2001).
Inducing the audience to become 'fan of the brand', reports E-
marketer on April the 2nd 2009, is a leading-edge strategy:
according to the 'Insite Consulting' research, 35% of respondents
had 'followed' a brand online (www.emarketer.com). Furthermore,
'64% of consumers report making a first purchase from a brand
because of a digital experience' (Schmitt, 2009). Therefore, social
media can be used to improve customer service, engage the
audience towards the experience value proposition and leverage
moods and attitudes responding to their expectations 'quickly and
with accuracy and credibility '(E- consultancy, 2010, p.6).
According to Gaffney and Rafferty (2009), the navigation trough
social networks, such as Myspace or Facebook, is a popular method
to discover and locate independent music. The net pours of
fanzines, blogs and above all music artists’ profiles: the fan can
easily reach a direct contact with the performer and their
performances, and exchange their opinions with friends and
connections (Gaffney and Rafferty, 2009; Graham, 2004; Morgan,
2007).

2.5.4 Richness and Speed:

In his study, Graham (2006) identified three main peculiarities of the

Internet that influence the music business and the marketing
strategies in general: interactivity, bandwidth and customization.
The increasing the data interchange due to the empowering of the
bandwidth, allows the distribution of 'rich' contents, such as video,
graphics and animation (Henderson, 2010, Experian, 2010).
The video implementation in promotional campaigns is a fairly
recently developed praxis (Scott, 2010), Henderson (2010)
highlighted that 84% of marketing planning are positioning towards
the adoption of emerging channels including videos.
Working on the 'loading time issue' should be a task designated in
the action plan of the company, since it encompasses the whole
design and the quality of the service in terms of applications and
video and graphics definition (www.philosophe.com).
Indeed, speed of page load is an ulterior guarantee of mastery and
affordability of a web site, which will drive to customers’ satisfaction
and retention; the recommended speed of page download is four
seconds (Nielsen, 2002).
The supremacy of video ads on static ads is statistically proven with
98% of increased conversion rate (E-marketer, 2010) and the tool's
engagement power towards audience is recognized in multiple
sources, both within academicals and industrial debate (Chaffey,
2009; E- consultancy, 2010; E- Marketer, 2010; Experian, 2010;
Henderson, 2010; Net Magazine, 2010; Pelsmacker, 2010; Schmitt,
2009; Shimp, 2010; Scott, 2010; ).
Reinforcing the rich media contents could is a further enhancement
of the e- CRM strategy that works towards a durable involvement of
the audience (E- marketer, 2010). In the Scott research (2010) is
recommended the maximisation of the investment required to
produce the quality of video contents with the appropriate topics
and the effective targeting. The author quoted Owen Mack's
utterance 'Video is an extension of the blogging ethos, the tool can
be seen as an up- to date and advanced measure of engagement
and the effective response to the placement should encourage the
intensification of its application in an effective promotional
campaign' (Scott, 2010). A rich contents online campaign should
achieve and improve the customers’ satisfaction, which will
transform them in 'online advocates' of the brand (Chaffey, 2009).

2.5.5 Towards new esthetic principles

Page layout design should be integrant part of the strategy that

aims to create a consistent brand identity, which will engage users,
and transmit them a feeling community (Bilton, 2006; Chaffey et Al,
2009; Jenkins, 2006; Ryan and Jones, 2009).
The contemporary creative challenge of web designers is to apply
the universal principles of web design, and shape them after
according to the targeted cultural background.
Highlighting the value of a universally accessible web, Lupton
declared (in Armstrong, 2009) 'we are developing our particular
voices as people -as men and women, as members of a generation,
as participants in local communities and institutions, but also
practitioners of a global design discourse' (Armstrong, 2009).
The best practice of the online promotion entails the meticulous
planning of a user- centered website design, in fact 'commerce sites
can influence their impression of trustworthiness by carefully
designing their site to avoid amateurishness, set and meet
reasonable user expectations, trust and usability'
(www.phisophe.com).
The word wide web consortium (www.w3c.org) defined the
standards to ensure the interoperability of the web (Ryan and Jones,
2009). These flexible principles are meant to maximise technical
and design quality, towards the internationalization, usability and
sustainability of the web (www.w3c.org).
Usability 'refers to how well users can learn and use a product to
achieve their goals and how satisfied they are with that process.”
(http://www.usability.gov/basics/index.html).
Statistical results remark that the 82% of customers is less likely to
return to a website, if its design lacks in the application of usability
essentials (Econsultancy, 2009). Nielsen (2002), the father of the
web usability theory included these principles:
• 'Learnability’, or how easy is it for users to accomplish basic
tasks at their first time access to the experience;
• 'Efficiency', the grade of flawlessly of task performing;
• 'Memorability': the measure in which after a considerable
latency time users can reestablish proficiency towards the
functionalities;
• 'Errors': their frequency and their recovery;
• Pleasantness of design
(Nielsen, 2002).
In order to attain to the principles of a website intuitively usable, the
first step is projecting a well-organized web architecture, that will
structure contents and information in a coherent search
optimization taxonomy, and communicate the overall site
organization (Beiard, 2007;Elniak, 2003; Net Magazine, 2010;
Rolston, 2010; White, 2010; Wodtke and Govella 2010). Then, the
architecture has to be supported with a correct and transparent
linking strategy, 'if the customer can't find a product, then he or she
will not buy it' (Nielsen, 2002, p. 35).
Realizing a uniform and balanced design with a coherent
organization of page sessions, readable typefaces and media
contents endorse the customer branding perception (Elniak, 2003;
Norman, 2010; Rolston, 2010). Prominent importance has to be
given to the color scheme; every color is bearer different
perceptions and notions, due to cultural and psychological
associations (www.colormatters.com). The wholeness of the page
design is incomplete if not supported with a balanced colour system.
Users will associate distinctive colors with the brand, the products
and the services provided. Therefore realizing a color scheme that
keeps in consideration the target audience and the communication
purpose enhances the brand identity (Lee Stone, 2006).
A further component that strengthens the brand identity is the logo.
The creation of a brand trademark intends to disclose the
interpretative process of symbolic associations to products and
services. Through the logo, audience will perceive the unique
character of the brand and reconnect it with the whole experience
(Macrury, 2010, Beiard, 2007).

2.5.6 Ties and trust

An additional advantage provided by the Internet to the

organization of music live events is the feasibility of the online ticket
selling (Graham, 2006; Kusek and Leonhard, 2006; Long and
Robinson, 2006; Waddel et al, 2009). The transactional phase
entails a well- founded bond of trust between the brand experience
and the public (Chaffey, 2009, Morgan, 2008).
Bart (2008) reported 'privacy, navigation, security, navigation and
presentation, brand strength, advice, order fulfillment, community
features, and absence of errors' (Bart et al, 2008, p. 135) as core
principles to direct the consumer behavior towards online
transactions.
E-commerce entails Privacy and security issues the along with their
legislative principles. Secure online transactions in UK are guarantee
by the Data Protection Act of 1998. The necessity of online retails
regulation stewed from the rapid diffusion of computers in 1970s,
which implied the increased speed and quantity of data operations
(Carey, 2000).
Compliance with electronic commerce law within the data
processing and storage operations guarantees the trustworthiness
of the online transactional operations (Bart et Al, 2005).
The technology that undertakes the protection of data storage and
transmission is Encryption, a procedure throughout textual data are
converted in 'cipher text' that cannot be read by anyone other than
the sender and the receiver' (Laudon and Traver, 2009).
Through the application of the above principles expounded, the
website should become the online shift of customary 'face to face'
commerce, and convey trust and affordability: the catalysts of the
purchase (Philosophe, 2010).

2.5.7 Monitoring wizards

By means of Web Analytics, the Internet technology provides a
broad range of devices that allow the testing of the website
effectiveness (Chaffey, 2009; Kursan and Milich, 2009; Pelsmacker,
2010; Petlier et al, 2003; Ryan and Jones, 2009; Scott, 2010; Shimp,
2010).
"Web Analytics is essentially about monitoring how visitors are
using different pages and features on your website" (E-consultancy,
2010,p. 3), these techniques allow to track the navigation within the
website, the 'provenience' of the traffic and the keywords used for
the search (E-consultancy, 2010)
The Kursan and Milich research (2010) described Web Analytics as
advanced data collection techniques that 'provide better insights
into sometimes hidden and unavailable data regarding customers,
their impacts on business, consumer behaviour and buying
decisions'" (Kurasn and Milich, 2010, p.72).
An effective, open source online apparatus that tracks the
evaluation of the analytics data is 'www.alexa.com'; the service
provides information regarding the online traffic tendencies, the
audience, and the influence of search engine on the website visits.
Statistics report that 80% of the Internet users reach the site trough
a search engine (Kent, 2006). Consequently, the implementation of
SEO (Search Engine Optimization) techniques that upgrades the
ranking escalation in the search results, constitutes a powerful
strategy aimed to increase the website popularity.
The SEO methods harness the search engine functioning: when a
word or sentence is addressed to search engines, they seek for web
pages containing the word or the phrase. The process goes further
in the page searching the word within the HTML source code, and
weighting the different position of the word inside the page.
Availing of the indexing techniques, the Search Engine Optimization
achieve the effective keywords placement in the page title, content,
meta description, page linking and Keyword frequency, in order to
increase the number of users visits (Clark, 2010; Kent, 2006).
Search engine marketing it is a not intrusive and not interruption
promotional approach: users indeed employ search engines to find
information that satisfy their requests and needs (Scott, 2010).
A further non-interruption strategy is the online conversations with
customers; through blogs and Social Networks marketers can keep
track of attitudes and leverage the impression of their target
audience. The scope is defining the promotions endeavors around
the enhancement of these insights (Pelsmacker, 2010).
The use of interactive communications channels in most of the
branding online campaigns leaded to the propagation of buzz
monitoring tools. These instruments scan the social networks in
order to monitoring the customers’ impressions towards the brand,
identifying 'mentions of specified search terms and phrases such as
brand name' (E-consultancy, 2010, p.8). Above all, the peculiarity of
social networks is the immediate control of the audience feedback
and brand fidelity. Its implementation of buzz monitoring tools
proffers a double control of the Return of Investment (ROI) of the
channels (E- consultancy, 2008; SDL, 2010)
The combination of Web Analytics tools is an efficient marketing
approach, that tracks audience behavior and redirect strategies
toward a successful and long- term audience engagement (Chaffey,
2009; Jones et al 2008; Ryan and Jones, 2009).

2.6 Summarization
This analysis encompassed the issues of a holistic approach to
Festival promotion. Understanding the dynamics of the networked
and interactive Internet environment should lead to the production
of innovative cultural products, which will effectively meet and
anticipate the customers’ expectations (Bilton, 2007).
The best practice should harmonically direct the contents and their
delivery to an effective and solid brand identity. This approach is
aimed to engage the target audience in long lasting trust and
commitment, maximising ROI and brand reputation (Chaffey, 2009;
E-consultancy, 2010; Graham et al, 2004; Kusek and Leonhard,
2006; Ryan and Jones, 2009; Schmitt, 1999; Schmitt, 2009; Schimp,
2010).

3. RESEARCH METHOD

3.1 Introduction

The researcher chose a qualitative method in the form of case

studies to correlate the research questions and objectives. As
reported in the Holloway study (2010) the qualitative method allows
the researcher to explore the 'experiential dimension of events'
(Holloway et al, 2010, p.75), collocated in the context in which takes
shape.
This case study integrated the participant observation of the 'online
environment', comprehensive of interaction with the brands, along
with the interviewing of the promotions manager of the selected
events.
The analysis of both source data has been endorsed and completed
throughout the comparison with the academic and industrial
theoretical background (Bryman, 2010).
The purpose of referring to mixed sources is aimed to a construction
of the validity by combining multiple evidences: different
perspectives and different angles of evaluation of the same
occurrence (Yin, 2009).
This flexible and holistic procedure, availing of different techniques
and conceptions, leaded to the production of a 'thick description'
(Geertz, 1973) of the examined scenario. The process has not
leaded up to empirical data and indicators, but rather in a pattern of
analysis of the cultural components of the context in matter
(Bryman, 2010).
Qualitative methods, in fact, differ from the quantitative data
analysis because they cannot be juxtaposed to scientific
measurements (Hammersley and Hatckinson, 2009). The qualitative
style of investigation strives to the analytical comprehension of the
social mechanisms of a selected circumstance. The aim is to
'provide a novel perspective on the phenomena we are concerned
with, build on previous work, and/ or promise to tell us much about
other phenomena of similar types '(Hammersley and Hatckinson,
2009, p.162).
According to this standpoint, the results of the analysis are meant to
dispense a logical framework, in which evaluating the best practice
for the promotion of a live music event, exploiting the opportunities
provided by New media.
Through the coverage of the main issues related to the online
marketing of cultural events, this inquiry focused on the
underground dance music scene.
The endeavor encompassed the ethnographic intent to explore the
meanings of the experience to the target audience (Holloway et al,
2010), and to discuss the strategies of the organizers in order to
engage the audience and induce the event participation. The
purpose has been to provide marketers a compendium of tools to
interface the empowered, influencing and interactive 'online crowd'
(Kozinets, 2007).
3.2 Identification of the field of analysis:

The two festivals under consideration are 'Bloc Fest'

(www.blocweekend.com) and 'South west four'
(www.southwestfour.com).
Their selection is the result of an accurate online exploration of the
electronic music festivals performing in UK. The observation of the
online promotion strategies led to shortlist the events which
websites meets the following criteria:

• Music as cluster of cultural values and networking;

• Consistent brand identity and brand message delivery;
• Social and brand interaction allowance;
• Design and navigation tools effectiveness
• Web Analytics and Return of Investment (ROI)
(Jones et all, 2008).

The following step has been contacting via e-mail the promotion
managers of the selected campaigns, in order to put on their
attention the purposes of the study, and propose them to delve into
the topics throughout an interview.
Jeff Gray, Lock'n'Load events Promotion Manger, responsible of
South West Four Festival and George Hull, Baselogic Promotion
Manager, organizer of Bloc Weekend; have favorably responded to
the research proposal, and agreed to participate with an interview.
In these propitious circumstances the study progressed across an
interactive participant-observation of the audience interactions with
festivals websites (Yin, 2009), in parallel with the further elaboration
of the interview concerns.

3.3 Online field observation

The benefits of the analysis of the documents related to the

analyzed scenario are fully appreciated by various studies around
the ethnographical social research (Bell, 2005; Bryman, 2010;
Davies, 2009; Hammersley and Atkinson, 2010; Holloway, 2010).
Approaching the interactive Internet field means confronting with
the issues related to the medium. The Markam essay (2005)
highlighted that the mechanism of interaction within the online
environment, modify the users perceptions and behaviors. The
cultural value of these interconnections generates the tendency to
gather into online communities around a cultural interest
(Hammersley and Atkinson, 2010; Kozinets, 2007; Markam, 2005).
Keeping in regard the Internet characteristics, during the next stage
of the investigation, the researcher tested the effectiveness of the
online marketing endeavors. The scope has been performed
assuming the attitude of a fan, and monitoring both the brand and
the audience interactions and evaluating the feedbacks.
Through the production of a 'diary' of the online experience, has
been observed both the peculiarities of the websites, and the
evolutions of the marketing strategy. The findings' comparison with
the theoretical background and with the interviewee contributions
leaded the study towards the comprehension of the emotional
connection of the consumer within the creative consumption typical
of the web (Holloway, 2010; kozinets, 2007).

3.4 Online ethical concerns:

The practice of the traditional methods of social research

recommends the maintaining of confidentially of data and
anonymity of the participants, according to the Ethics committees
guidelines (Bell, 2005; Hammersley and Atkinson, 2009).
This process, involves providing the respondents of the official
consent letter to sign, in order to expound the purposes of the
research and get the consensus for the publication of data (Bell,
2005).
The issue of ethics enclosed by the online ethnography could
present ambiguities. Kozinets (2007) analysed the academic
discourse around the introspective of what constitute public and
private space within the wired environment.
The author reported the solution proposed by Rafaeli (quoted in
Sudweeksand Rafaeli 1995), arguing that the informed consent is
'implicit in the act of positioning the message in a public area'.
Furthermore, as a matter of fact the cyberspace, in a wide range of
contexts, entails the anonymity of social actors (Markam, 2005).
This study in particular will not any statement, image, video or any
other multimedia artifact, but rather analyze the tendency of the
users’ perceptions regarding the online promotion of the focused
events.
Therefore the question of privacy and confidentially of data does not
involve the research subject.

3.5 Learning from the field: interviews with the

insiders:

The purpose of the interviews has been to elaborate the knowledge

achieved with the participant observation of the online context
incorporating the perspective and the experience of the event
planners (Hammersley and Atkinsons, 2009).
The questions have been created as a basic guideline to lead to a
discussion about the topics.
This flexible approach involves a constructive interaction of the two
parts, aimed to the relational construction of knowledge that
emerged from the dialogue (Kvale, 2009).
The arguments of the conversations targeted to the
acknowledgment of

• The insiders standpoints regarding the music industry recent

transformations
• The strategies that supported their marketing plans
• The application of the New media techniques and the
motivations of the organizers choices

Interview data interpretation involves the cultural standpoint of the

interviewer as well as the researcher background. Kvale (2009)
reports that outcomes and their interpretations are subjected to the
'knowledge and sensitivity to the interview topic’; therefore the
interpretations cannot be quantified and interpreted on scientific
basis.
The validation of the outcome will constitute the analytic step of the
research, or rather in the comparative juxtaposition with the online
campaign benchmarking and the theoretical background (Yin,
2009).

3.6 Interviewing ethical concern areas:

A non- scientific interpretation of the results involves a strongly

ethical oriented approach of the overall analysis. The researcher
tackled the ethical laws and guidelines towards an application that
pledged the attention to the context in which the exploration took
shape (Kvale, 2009).
Interviewees have been informed of the research purpose as well as
of the confidentiality of the conversation. Their consensus has been
stated trough the official consent letter (see the appendix A). Both
participants signed the form in order to grant their contribution for
the academic purpose and terms of use of their declaration (Bell,
1995; Bryman, 2010; Hammersley and Atkinsons, 2010; Kvale,
2009).
The participants also enabled the researcher using the events
names and URL (s) as well as their full names within the text body of
the treatise.

The recording apparatus of the dialogue was an audio recorder; the

interviewed has been informed of the track record beginning and
end. No sales or financial figures have been subject of the
interviews.
After going through the laws expressed in the 'Research Ethics
Review checklist' (http://www.londonmet.ac.uk/research/the-
graduate-school/research-ethics/home.cfm, 2010) the researcher
can affirm that there are neither legal requirements, nor ethical
issues related to the research subject. The schedule of the
interviews will be arranged in advance along with a high grade of
flexibility from the researcher, in order maintain a non-intrusive
conduct that promoted the constructive disposition of the
participants (Kvale, 2009).
The recorded data will be used for academic purpose only and the
files will be destroyed after the submission of the dissertation. Along
the data examination term, the audio files will be password
protected, to avoid divulgation in case of theft or loss
(www.datprotection.gov.uk).

4. SOUTH WEST FOUR AND BLOC DIGITAL PROMOTION

4.1 Introduction

'Promoting concerts is a mixture of art and science' (Waddel, 2007,

p. 193).

The following session of this thesis will expound the 'Bloc' and
'South West Four' online marketing endeavours. The evaluation will
be shaped around the management of the digital media features
that called in discussion the standards of the traditional music
industry.
Both festivals encompass online promotion strategies characterized
by creative solutions to engage the customers in the atmosphere of
a community (Boorsma, 2006; Jones et al, 2008). The websites
challenge the variable audience mood with updated solutions.
Throughout marketing endeavors that reveal an overall mastery of
the e- CRM practice (Chaffey, 2009), they take advantage of the
features that identify the Internet and New media as 'the key drivers
and accelerators of a growing interaction between culture and
commerce' (Jenkins and Deuze, 2008, p.1).
The digital mix of both campaigns will be analogized and confronted
with the academic and industrial theoretical background, and with
the insiders’ perspectives. Aiming to disentangle the multiple
chances originated from the wired scenario, the research trail will
evaluate the best practice in the creation of a cultural experience
that not only mirrors, but also boosts the interactive audience
expectations.

4.2 Music, the heart of the festival

Underground dance music scene, arising from its established

network of artists and fans, is empowering its digital flair towards a
savvy expansion across the online crowd. The genre has founded its
business model around the 'club culture': an association of DJ’s
popularity and location. In this context the capital' attached to the
music is earned through actually ‘being there’', (Leyshon et al,
2005, p. 7) rather than the CD sales.
Towards the music industry tendencies George Hull, Bloc
promotions director asserts:

"I'm much more of the opinion that technology enables and

creates the industry: as you know first here was the vinyl then came
along the cd. Thanks to the Internet, I think that artists are able to
propose their music product to more people. The revenues from cd
selling are disappearing and at the same time always more people
are enjoying and consuming live music, both in festival and clubs.
The result is that the performers, the Djs are really highly paid for
their acts."

As the Internet allows the growing number of online users

expressing their opinions, interests, creativity and gathering in
online communities, the content providers are required to elaborate
significant online experiences in order to engage their favour and
induce them to enjoy the 'offline outcome' (Ryan and Jones, 2009).
In fact 'Music' has been the main motivation to attend the 'V'
festival detected in the analysis conducted by Gelder and Robinson
(2009).
Both the interviewees agreed on the prominence of the line up as
starting point for the construction of the event. They highlighted
their purpose of differentiation from comparable happenings trough
the proposal of rich music content, multiple stages and, above all,
big stars.

The Bloc chief organizer asserted:

"The marketing is actually built around the music offered with
the line up. The artists dictate the potential success of every event".

While in the same context, Jeff Gray, the South West Four producer
argued:

Is well documented that, while some years ago, even

international music artists has a tour to support their albums, now
they have an album m to support the tour. There's more money
earning in the touring than in the selling of music product, due to
the issue of pirate downloads, burning and file sharing."

Designing the value proposition of a cultural event entails a deep

knowledge of the targeted consumer taste and tendency. The offer
should prompt the seeking for cultural and personal gratification
and enrichment, along with the related symbolic values intended for
create a positive mood and the disposition to repeat the experience
within the fans (Bilton, 2006; Cova, 2007, Morgan, 2008).

From the conversations with the promoters of the festival emerged

the determination to enrich the music proposition aiming to involve
more variegate fans. George Hull, the Bloc organizer is planning to
endorse the project of the next year performances. Towards the
goal accomplishment, the promotion administrator affirmed that the
public would be motivated with high- calibre musicians, groups and
DJs.

Indeed, analysing the Bloc website, the link to the line up page is
collocated immediately after the 'home page' connection button.
The musicians’ page contains a slide show with the photos of the
artists and lists of performers; classified in main stage and
showcases. The lasts are hosted in minor stages or sublet and
handled by the media partners. Scrolling down the page content, we
witness a contiguous number of DJs, groups and acts followed by
another picture slide show.
The whole composition of the page has a good balance of graphical
and textual contents (Beiard, 2007). The page organization helps to
easily identify and recognize artists and performance, giving them a
stable relevance. The bottom of the page shows the event sponsors
logos, which are links to the respective brand websites. This
scheme is reiterate in all the other website session. Furthermore an
entire page is allocated just for the partners.
'The choice [of collaborators] implies the kind of things we will
be associated with', stated the Bloc organizer.
Therefore, this selection has to be modelled around the audience
preferences in order to constitute a further attraction of the
experience (Waddel et al, 2007).
Collaborative linkages ease the networking, encourage online
partnership hence enrich the proposition prestige (Jarvis, 2010;
Kusek and Leonhard, 2006).
Jeff Gray, the Lock'n Load Events Promotion Manager announced:
"Our main headline claims 'South West Four in association
with Time Out', and it's across all of our advertising. We are
planning to advertise our association with 'Kiss fm', 'Dj Magazine',
'Till late', 'Trackitdown', 'Beatport', 'Last Fm'. It is very important to
collaborate with them because of their influence on the online
audience. They will contribute to the success of the event. And our
event success would increase their popularity as well. We are
looking at common goals".
Remarking the importance of the audience perception and the
holistic value of partnerships, the organizer demonstrates the
application of the theory proposed in the Kusek and Leonhard
(2006) treatise that describe music as a service enhanced by the
Internet networking deftness and fluidity.

South West Four website reserves to the media partners a

dedicated session, in which each associate is represented by the
company logo, which redirects to the website. These trademarks are
not flaunted within the website as previously detected in the Bloc
hypertext document.
Likewise different composition and space allocation characterize
South West Four layout organisation in the performance fair session.
There are two pages dedicated to the line up: the first, labelled
'artists', presents the performances and their collocation in the
different stages. The next page, entitled 'arena host' specifies the
clubs or record labels that contribute to the event.
Presenting the same structure of the Bloc website the page heading
is a slide show, which remains constant within all the website
structure, therefore exhibits topic pictures of the event. Under the
slideshow the user can find the artist line up for both the festival
dates, the bottom of the page presents the animated banner that
connects the user with the ticket purchase session.
This direct connection with the sale stage smoothes the site
browsing, and refers to the effectiveness of rich media in the online
advertising and promotion (E- Marketer, 2010).
Besides being the final goal of the marketing endeavours, the ticket
trading entails a quality assurance level that induces to a
straightforward purchase operation (Chaffey, 2009;
www.philosophe.com, 2010).
Jeff Gray, South West Four promotion manager expounded:
"We want our costumers to feel valued. Not to make them feel
like we just taking their money without responding to their
expectations".
The master plan for the Bloc festival promotion included an online
shop for the sale of tickets, merchandise and bus service. The
audience is provided of the 'shopping basket', as well as different
payment options and a guaranteed secure checkout
(http://www.ico.gov.uk/).

In addition to the animated banner, South West Four website

comprehends a 'ticket session' that summarizes the purchase
options and redirects to the online ticket outlets. The outsourcing of
the online transactional stage of the experience is a valuable choice,
the costumer will benefit from the expertise of the two selected
companies. Reputable associations strengthen the whole image of
the festival; consequently convey a beneficial impact on the brand
credibility, minimizing the perception of risk that could affect the
success of the business (Overby, 2010; ProjectSmart, 2010; Schmitt,
1999).

The following paragraph delves into the message transmitted

towards the online campaign for the festival, analyzing the key
features of their approach to the public.

4.3 Bold brands engage dynamic users

Music is the cornerstone that launched the online experience and

boosted the costumer-centred attitude strategic intent of the
producers.
Jeff Gray commented his inner dedication to the dance floor:
"We are working very hard, we are striving to be the best and
we want our costumer to appreciate what we are doing for them.
Our company members come from their same background: I come
from the dance floor, I'm a fan of the Djs and that's why I'm so
passionate and fan- oriented in my work. "

And George hull explained his next plans:

"What we really want to do for the next year is to build a line

up that is much stronger than before. I'm sure that this will be the
factor that will motivate more people to come. We want to involve
big artists to come to the festival next year."

In the observation of the websites, while scanning the abundant

rows of the line up emerges that some artist performances are
presented in both festivals: congruity in the contents, as well as in
the target audience. Nevertheless the perception of two singular
and differing platforms is keen and immediate. A glance at the
home pages can be sufficient for the user to empathize with the
'Bloc' or the 'South west four' crowds.
'The next competitive battlefield lies in staging experiences'
(Schmitt, 1999). The author discloses not only the essential of
engaging the costumers’ emotions, but also their rationale, in order
to provide them consistent brands that shape the product identity
and uniqueness. Experience is a high-impact factor that engages to
take part to the event (Gelder and Robinson, 2009; Morgan, 2008).
Both the festival producers were proud to attest their intents to
differentiate, with the music contents as well as with the creation of
community to enthrall and hold the audience.
This has been confirmed in the strategy elucidation conveyed by the
responsible of the promotion of South West Four
"We are basically working towards the creation of a
interactive community. We want our costumers to feel valued"
The home page of a website should constitute a central reference
point for navigating your content (Ryan and Jones, 2009, p. 54): it
should communicate the substance of the matters conveyed by the
experience with clarity, consistency and coherency (Chaffey, 2009,
Ryan and Jones, 2009; Sametz, 2010; Schmitt, 1999; Shimp, 2010).
Calling the URL of the Bloc domain, we behold an efficient
structured space; the heading displays just the logo and the date of
the happening through basic and extremely clear fonts. Immediately
above on the left side, an animated exposition of several
emblematic pictures supports three vivid and relevant expressions
that clarify the difference of Bloc: the location.
The showcase is in fact hosted in a holyday resort, which is the Bloc
peculiarity, the element that, besides the music, triggers the
experience. As explains the Bloc promotion accountant George Hull:
"When you buy a ticket, you have all the facilities of a holiday
resort. It actually offers six thousand of indoor private
accommodations, real flats with bedroom, showers and all the
comforts of a real house. That is what makes bloc unique and marks
the difference with most festival in UK..."

Proceeding with the Bloc home page browsing, the area under the
slogans is constituted of a further multiple animated photo sliding.
The device function is sharp and focused in mirroring the target
audience: glossy, saturated images of young, happy, cute and
trendy young adults switched with their star Djs at work. In addition,
Some graphics in 1950's style evoke the vintage fashion, in vogue
among young culture (www.vicelannd.com; www.dazeddigital.com)
and flows the attention on the 'Fancy dress party' link forthwith
placed on the right. The main menu is collocated vertically on the
right side of the screen, with its simple but tasteful colour animation
on the scroll.
The whole composition as well as the contents is projected to
promptly grab the attention of the target audience, giving a
desirable package that induces to explore the content of the
website.
Categorizing users and giving attention to their needs is a good
practice highlighted both in the industrial and in the academic
debate, Philosophe, 'the website devoted to quality assurance for
websites' (www.phliosophe.com/about) recommended to conquer
the trust of the consumer throughout the delivery of meaningful and
relevant contents (www.philosophe.com). While Bilton (2007)
reminded that the cultural consumption is arisen by symbolic values
that shape the product and its 'surroundings'.

South West Four home page has a slightly different impact: it

evokes the traditional 'big' concert atmosphere. The animated
banner is dense of animation, merging the jumping crowd, the
powerful artist parade in a central London frame, it flawlessly relays
a sense of participation and lightheartedness supported by a deluxe
artist selection. It could be interpreted as an animated résumé of
the cultural and social values that, according to the study of Morgan
(2008), encourages the public to enjoy the happening. Once again
the home page heading displays the setting of the stage, the
organizer detailed the noteworthiness of the issue:
"We are settled in the middle of London, which is a great thing
for some aspects, but we are in a disadvantageous position from
some events because we have a lack of space. We need space for
catering supplies, for our sponsors, the other festivals can do a lot
of things beyond the music that we'd love to do but we are limited
by the location. We don't want to sacrifice the music stage for
something else, so there are so many benefits to have a location so
easy to reach, but we don't have the opportunity to expand other
stuff beyond the music.
This declaration calls the discourse about the role of ancillaries in
the festival.
The supply of the adequate set of side activities and facilities to the
target audience is an effective ploy enhances the whole experience
and reinforces the brand identity (Winning, 2010).
Regarding the bloc festival, the holiday resort components establish
the unique atmosphere for the festival. The South West Four
promoters nevertheless penalized from the lack of space, reserved
their guest a comprehensive treat.
Jeff Gray, the head of South West Four organizational team
specified:
"We want to offer chilling and restoring pleasures, like for
example organic food. So good quality in every bit that compose the
festival! It's very important and gives a good vibe around the event
and when you have high-class artist playing at your event, you don't
want to be spoiled by looking' cheap' in any other areas."
Progressing with the exploration of the South West Four home page,
we can find the main menu clearly displayed on the left, which
clarifies the contents and the navigation scheme. In the central
frame, before encountering a rolling in news feed, the pictures of
the artists slide under the animated main banner.

Nevertheless the abundance of contents and the loading speed are

effective: it conceals the four seconds good practice instructed by
Nielsen (2002) in order to accomplish the time starving Internet
users’ habits. The massive handling of rich media, which is a
communication protocol embraced by both campaigns, reveals the
eclectic and holistic marketing approach that targets to emotionally
engage the audience through the branding experience (Schmitt,
1999).

In 2009 Double Click agency statistically measured the efficacy of

video at meeting promotional objectives; specifically the company
demonstrated that the format conveys favourable outcomes in
message association, positive brand awareness and connection,
which are therefore prone to lead the audience to the product
purchase (Double Click, 2009).
Moreover, by means of rich media contents the promoters proffered
the virtual 'trainability' of the product that encourages the fans to
take part to the experience (Schimp, 2010).
Jeff Gray explained the purposes underneath the making of
promotional videos for South West Four:
Basically the [youtube] channel contains the interview we
have made to the artists, there's the one we made to Fatboyslim
about a month ago, just before we launched the line up of the
festival, in his house in Brighton. We edited the video to make it as
a personal message to the fans, we use it like a 'banner' and it's
being very effective due to the popularity of the artist! All the big
music websites has a personal message from him, so it add prestige
to the 'South west four' website. Besides the message is direct and
describes what the festival experience is going to be and it
construct a direct touch point between the public and the artist.

The Bloc online marketing entails the Youtube dedicated channel;

George Hull described its role:

"We have a Youtube channel with a lot of videos and all of

them have been posted to Facebook. Is like if Youtube has been just
a container for the contents that are promoted via Facebook".

The promoter assertion opens the debate around social media and
interactive participation of the public in the construction of the
online experience.

The analysis conducted by Jones (2008) introduces the concept of

'Telepresence' as the 'combination of vividness (media richness)
and machine interactivity, often referred to as user control' (Jones et
al, 2008, p. 422). The 'Telepresence' approach is alongside with the
Smes (Strategic Experiential Modules) in which Schmitt (1999)
proposed four patterns for marketers aimed to create emotional
experiences for their customers. The sense module or proffering
sensorial experiences; the 'feeling marketing', appealing to the
customer’s inner affections; the 'think marketing' that involves their
creativity and wisdom; the 'act marketing', that in the online context
can be labelled as interactivity; and the 'Relational' marketing. This
last module is a combination of the features of all the 'emotional
patterns' with 'the person to a broader social system’; hence it calls
to the need to be positively perceived by peers and contacts
(Schmitt, 1999). In the virtual realm, the interaction involves both
the brand and the 'engaged' community. Its effective exploitation
implies balanced, updated and targeted promotional messages that
will positively affect the customers’ brand perceptions (Schmitt,
2009).

The South West Four home page is a bold model of the

implementation of social networking for a collaborative and
interactive communication approach. The links to the various social
networks contact and spaces of the event are displayed on the left
side of the composition, after the main menu. They are reiterated at
the bottom of the page, under the animated banner that redirects
the user to the online ticket purchase.
The next stage of the research deepens the issues related to the
social networking endeavours and techniques provided by both
promotional strategies.

4.4 Shared and participative culture

Social networks are key components of the online marketing

strategies of Bloc and South West Four. The promotion managers
are aware that their target audience, which encompasses young
adults passionate about music, is a market segment particularly
prone to using social media (Experian, 2010; Gangadharbatla, 2008;
Schmitt, 2009 ;).
George Hull, the Bloc head of promotion declared:
"Using social media is now the way to aggregate online
communities around an event"
In regards to the success of an online promotional campaign the
South West Four responsible announced:
"For the New Year’s Eve event we didn't advertise in any radio
or press channel, only online. Some reviews have been written, but
we didn't spend any money in the traditional advertising channels.
We just 'buzzed' on Facebook, Twitter,
Last fm, Myspace, and we sold out! "

Within the cultural underground music scene, evaluating the opinion

of tastemakers leads the promoters to a clear understanding (and
anticipating) of trends, 'icons, ritual and rules' (Bilton, 2007, p. 152).
The ploy allows them to shape the online conversation around fresh
and up- to- date cultural values.
The Bloc website, on the day after the 2010 edition was substituted
with a temporary page displaying the heading "Bloc. Big Thanks.
See you in 2011" followed by the links to the festivals profiles on
Facebook and Twitter, along with the event blog and the newsletter
subscription.
The intriguing plan is meant to maintain the 'online conversation',
as explained the interviewee:
"The website has been used, and every year we have a new
one, to promote the next year festival. The purpose of that home
page with our contacts and networks is to maintain the relationships
with our costumers and keep the attention on the event alive. In the
mean time we are creating the new appeal for the next edition."

Surprisingly, after five months from the 2010 edition of the festival,
the Bloc social networking spaces are still active and productive.
The dominance of Facebook as a promotion tool is evident on the
Youtube video channel report with the organiser and re-emphasised,
as Youtube is not mentioned in the 'transitional page'. Moreover
most of twitter posts of the Bloc profile are marked as 'via
Facebook': to be more precise they have been forwarded after have
being published on Facebook. The festival Facebook profile has
3815 fans (updated August the 23rd, 2010); a consistent segment of
them are proactively sending posts and links. In the meanwhile the
promoters are unceasingly uploading pictures of the fans. On
August the 23rd, 2010 there are 1219 images online. Most of these
photos represent happy couples and groups of girls, highlighted
socializing, sex and romantic incentives, which appeals to people
and motivates them towards participation (Gelder and Robinson,
2009; Morgan, 2008).

In addition the Bloc head promoter asserted:

"The previous Bloc editions used to host a mostly male

presence, but this year has been equally male and female. Actually
that was one of our objectives. In terms of future perspectives we
still want to encourage people that have never been there to come.
"
The promoters are continually 'feeding' the Bloc facebook profile
both with a discussion board and with links to dance events
contiguous to the festival style.

Social networks provide marketers a valuable system to directly

control every variation of the audience moods and tendencies
towards the brand: they can leverage and orchestrate the brand
conversation timely and effectively (E-consultancy, 2009).
Furthermore, according to Mangold and Faulds (2009) article social
networks are perceived as a more 'trustworthy source of information
regarding products and services than corporate-sponsored
communications transmitted via the traditional elements of the
promotion mix' (Mangold and Faulds 2009, p. 78).
Similar motivations can explain the effectiveness of embedding an
event- dedicated blog in the integrated promotional mix.
Harnessing the collective intelligence to consolidate the brand
image throughout concealing the audience preferences will lead to a
positive brand reputation within the target audience and their peers
and contacts (Singh et al, 2008).
The topics of the Bloc blog are mostly around music and networking;
the fans are already wondering what artist will perform in the next
edition and discussing their preferences or expectations. The
attention to the fan's conversations could be a further reason that
encourages the organiser to propose an updated and improved
choice of performers to their audience year by year.

Permission email and link sharing complete the temporary Bloc

website. Before the festival edition, the newsletter service was well
balanced and efficient; the email contents were clearly exposed,
relevant and compelling. After the event an email thanked the Bloc
community for the success of the experience and invited them to
join the 'after party'.

South West Four reserves to the newsletter space the creation of an

online profile. The member session at the time of the interview
(25th of March, 2010) was labelled 'under construction' and Jeff
Gray declared:
"User will be able to create their online profile and when they
log in as a member, they will be able to access a session that will
include a download space with Dj mixes, some extra track,
wallpapers, computer screens, video contents, maybe discounts or
competitions around the show...we are basically working towards
the creation of a interactive community."

The purpose has not been realised. Nevertheless, the newsletter

system is complete, effective and reflects the densely informative
purpose of the whole online initiative. The email announcing the
complete sold out of the entire event (23th August, 2010) included a
further treat for the online community as well as an additional
collaborative partnership with the online clubbing community 'Be-
at.tv' (http://www.be-at.tv, 2010). The network will feature the
festival online.
Declined the downloading session, the producers have instead
addressed their efforts into a multi -channel social network presence
and participation in order to create a wide online community.
Links that enable the connection with the brand online profiles are
placed twice along the pages: on the left column, under the main
menu and the 'event countdown', and repeated at the bottom of the
page.

A particular relief is given to Facebook; the connection to one of the

two festival profiles is resumed within a small window on the right
side of the page, at the same height of the social network links.

The South West Four promotion manager, as well as his bloc

colleague, sustained the supremacy of Facebook on the other social
media channels:

"When you compare it to twitter, you see the power of the

channel; facebook is twenty times the size of twitter. So the
promotion with facebook is fundamental to gather people that will
go to our event. There is a positive response from the public to our
facebook marketing approach and interaction with them. And it's
also a very good mean to gauge what people are thinking about our
work. You get this completely direct communication with your
'crowd' and they are not scared to give you their opinion."

Within the Facebook domain, South West Four splits itself in two
different profiles: a proper brand fan page and a regular user space,
both full of brand- audience interaction and feedbacks.

The 'brand' profile has particularly proficient attributes: it is

subdivided in Wall, Info, Line up, Events, Photo, and Video. It
includes as well the links to the other social networks. The profile re-
construct the key context of the website, repackaged to suite the
medium. While the brand profile has a massive sequel (30,235 fans,
updated 24th August, 2010), the 'personal' profile is less popular
(350 friends only), but full of contents and proactive in giving
feedback to the fans submissions.

South West Four expands the sharing orientation also to twitter,

contemplating a quite modest but well updated profile, and also to
Myspace. The festival's page on this channel transmits similar
communication intents to the Bloc Facebook profile, displaying
Twitter posts and a contiguous number of pretty and happy fans
(once again, mostly female). Finally the promotional campaign
extends the touch points with the public exploiting the recent
popularity of the online radio LastFm and strengthens the
collaboration with 'Tilllate' giving to the public the opportunity to
interact with the brand through both the channels.
Jeff Gray summarised:

"Through the power of the world of mouth you can create a

major event"

The success of both Bloc and South West Four, is also evident by the
fact that both festivals sold out previous t the event date. It is
statistically proven that social networks are in exponential
expansion (Experian, 2010; Econsultancy 2009). Their wealth
promotes a participative web presence of the brand in the web
channels where the conversation is taking place. Most of the recent
industrial best practice reports (Double Click, 2006;
Econsultancy2009; Experian, 2010; Henderson, 2010;Schmitt, 2009)
detected a strong Twitter popularity increase and foresaw the
medium benefits for an online marketing campaign. The heuristic
application of this principle within the two strategies in question
demonstrates that the tool is still a weak gatekeeper. The success of
Facebook is probably due the merging of all the web 2.0 features:
connections with peers, email, chat, microblogging, video and
pictures upload and tagging (O'Reilly, 2005).

The Bloc website hosted a page labelled 'Faqs' in the main menu.
Actually it links the audience to a 'community' page that welcomes
the visitors with 'Everyone going to BLOC is your friend whether
you’ve met them before or not, but just so that everyone knows
everyone there is an official BLOC forum where you can say hi’.
After the heading and the proffering of telephone number for the
inquiries the layout shows all the social networks, blog connections
of the festival. This session is complete and the caption effectively
hails the audience with words like friend, community, and the
concealing pictures show. These touching point, are not supported
by the main menu label 'faqs'. Traditionally the faqs page of a
website is a container with the common questions about the
services and the company standardised answer, consequently does
not indicate a sense of participation but rather an informative
context.

Nevertheless, with this 'faq' exception, both the campaigns

approaches to the viral social network power demonstrate a high
dedication and grasp of the potential of the tools, along with an
overall mastery in the online reputation maintenance (Chaffey,
2009; E-consultancy, 2009; Ryan and Jones, 2009).

4.5 Visualizing the experience

Design is about communication, it is about gathering information

and contents, focusing on how they will be achieved by customers
(Norman, 2004). The basis on which setting a 'User-Centred System
Design' are: the effective distribution of the contents within the
structure, the organisation of the sections hierarchy, and the
development of the general layout, keeping in regard the main
navigation procedures (Vodtke and Govella, 2009).

Design should be aimed to propose the experience in creative and

efficient solutions that informs and motivates the viewer. Principles
as simplicity, universality and readability should lead the ideation of
the page layout and of the navigational scheme (Elniak, 2003).

Jeff Gray exposed the philosophy beyond the graphical properties of

South West Four website:

"For southwestfour.com we are looking for an approach which

is very informative, we are trying to place as much content as
possible, there is always the link for any kind of information people
are looking for along the website. We kept in regard a well-
structured navigation scheme; so users can always find and come
back to the sessions they are looking for...We need to give unity to
the various sessions in order to ease the navigation of such a huge
amount of information. There are lots of pictures, links to the artists'
websites, facebook pages."

Coherently with the description, the web site hosts a huge amount
of contents, displayed in graphical, motion and textual forms. The
immediate captivating appeal is conveyed through a three-column
layout: 'a wide center column flanked by two diminutive
navigational columns' (Beiard, 2007, p.14), that structures the mass
of components in a familiar visual composition for the web user.

The graphical aspect, preserved in all the session displays the logo
in the page heading, as direct identifier of the brand. The main
menu is positioned on the left side of the page and contains the
essential links that clearly orient the user's navigation (Elinak,
2003). The South West Four architecture assembles, organises and
allocates the contents in logical sessions; the vertical distribution of
elements prioritises the messages and supports the navigation
(Vodtke and Govella, 2009). The typewriting is made up of a
traditional and legible 'Arial Black' in capital letters. In addition the
overall visual coherence is supported with an accomplished choice
of colors: the blue background gives relevance to the yellow type of
the main menu. According to the color theory, blue and yellow are
complementary colors, located in the opposite sides of the color
wheel, when flanked, they tend to intensify each other and to 'cause
a visual vibration that excite the eye' (Armstrong, 2006). Therefore
their combination will convey the attention to the main menu. The
third main color used is white, evoking lightness and simplicity.
White is also the color of the logo, therefore its reiteration along the
page bolsters the visual coherence. Blue is the color associated to
knowledge, freedom and coolness; while yellow connects with joy,
brightness and optimism (www.colormatters.com, 2010). This vivid
color combination supports the balanced page configuration, and
transmits an overall unity of the elements.
The efficient structure of the graphical elements avoids
overwhelming users with the prodigious volume and formats of data
displayed on the screen. The composition compensates for the lack
of 'white space': the empty space that contributes to the balance of
the layout and gives a sense of interlude within the page browsing
(Beiard, 2007). The professionalism through which the messages
are visualized implements the brand identity and invokes a sense of
trustworthiness and quality of the service (www.philosophe.com,
2010; Vodtke and Govella, 2009). Moreover it shows an effective
application of the principles of the usability, and provides a flawless
navigation that supports and endorses the user interaction (Nielsen,
2002). The website in its wholeness conveys a vibrant perception of
lightness, liberty and vividness, and is in line with the target
audience lifestyle and expectations.

The organizer of the 'Bloc' festival explained his choice to outsource

the website design, delegating the 'mise en scene' of the contents
to trusted collaborators:
'The website is developed by an outsourced company that
builds everything. They look what has been the feedback of the past
edition. The new line up, the contents and the featured requested
for the online promotion: the general kind of conception of the
event. After that they build the aspect of the website based on the
contents of the experience we have provided. Actually we have
been working with them since when we were working for just a
small club.'

Within the online promotion, the festival website assumes the

central strategic role to implement the whole experience and the
interactions with the customers inside the online environment .
Hence, outsourcing the design process should be consequent of an
accurate evaluation of contents, objectives and delivery models that
will shape the entire communication proposition (Nielsen, 1998;
Overby, 2010).

The collaboration of the Bloc organiser with the graphical team

posed prioritised the clear identification of the objectives, of the
target audience and past feedback. Furthermore its longevity is
guarantee of trust and level of performance (Overby, 2010).

The result is a pleasant harmonic layout, which demonstrates the

mastery of transferring creativity beyond the pure aesthetic canons,
and actualizes the effective affordances of the product for the user-
brand interface (Armstrong, 2009; Norman, 2004). The criteria of
clarity and simplicity, defined as good practice for the universality of
web design resulted in clear site architecture, supported by a
consistent and coherent page layout (Armstrong, 2009; Vodtke and
Govella, 2009).

The page heading displays the festival logo, followed by effective

and appealing slogans that introduce each session contents and
enhances the brand perception (Ryan and Jones, 2009). Event
dates, festival Logo and main menu are disposed on the right side of
the white background. All these components are realised with
simple typewriting in 'Arial Black', capital letters. The logo is white
with an external black shadow, and the menu titles are black with a
color effect on the mouse rollover. The page centre is occupied with
the slogans of the festival along with the fluent slide show of the
event photos; followed by the session subject. This bilateral
symmetry of the composition (Beiard, 2007) is completed with the
display of the logos of the sponsors that mirrors the main heading.

A minimal and colourful pattern adorns the top- left corner of the
composition, recalling the colors used within the pages. The white
background and the decorative motif confer emphasis (Beiard,
2007) to the slogans, which are collocated inside blue blocks with
white typewriting. The title of each page keeps the color displayed
in the main menu rollover. These shrewdness demonstrated the
intent to confer a balanced visual experience and facilitate the
associative connection of colors with services (Lee Stone, 2006).
The white background enlightens the saturated colors of the
pictures displayed in every session of the website. As reported
above: white, blue and yellow are colors evoking freedom, lightness
and joy. In addition the usage of pink, both in the Gallery and in the
online TV sessions could have the purpose to attract the female
audience: the color pink, in the occidental culture has feminine
connotations (www.colormatters.com).

The discussion above shows two slightly different design packages,

both meant to catch the attention of the cultural values of the same
target audience. The effectiveness and the usability of the two
websites are clear indicators that rules and criteria aimed for the
user task achievement and completion (Nielsen, 2002), don't limit
but rather are a challenge and catalysts for the designer's creativity
(Armstrong, 2009; Beiard, 2007; Norman, 2004).

4.6 Managing online Roi and reputation

Along this path of analysis has been evaluated the effectiveness of

the performance of the Bloc and South West Four online promotion.
Dynamic and customer-driven campaign strategies have been
identified as a good practice for the customer acquisition and
retention (Chaffey, 2009). In this framework, the Internet
technology further empowers marketers through Web Analytics
procedures. These techniques enable the promoter to monitor the
outcomes in 'practically real time', and adapt the digital campaign
to maximise 'return on digital marketing investment’ (Ryan and
Jones, 2009, p.106).
Jeff Gray commented the connection between audience response
control and strategic flexibility

"New technologies are offering opportunities to reach a wider

range of customers. We actually can control what people are writing
about the artist we engage for the events, about the event itself.
Reaching out their taste and maintaining their trust is a good way to
put our work out there."

And George Hull highlighted as a core passage the assessment of

the feedback of the previous website before planning the new one:

"The old site after the event becomes for us useful to

understand and quantify our results, and improve the design of the
next one, that will have to endorse the rich line up we are planning
and encourage the participation of people that has never come
before".

Furthermore the Bloc organizer can count on the effective landing

page, that redirects the audience towards the event blog and social
networking spaces, to better organize the next online promotion.

The evaluation of 'Buzz' and popularity on social networks is aimed

to monitor the popularity of the brand and to influence opinion
leaders and consequently the target audience (Econsultancy, 2010)

The usage of advanced SEO techniques, targeted to gain the edge

in the competitive and essential search engine ranking, is a core
trait that increases online traffic towards the website (E-
consultancy, 2009; Sdl, 2010; Scott, 2010).

Beyond SEO and Buzz monitoring, Web Analytics encompasses

further mapping solutions. The researcher availed of the services
provided by the online and open source 'Alexa, the web information
company' (ww.alexa.com) with the purpose to evaluate the measure
of the traffic slats, the audience snapshots, the search engine
referrals, and the search queries. The data produced offered a brief
of the online performances of South West Four and Bloc over the
last three months. Unfortunately not all statistic data regarding the
Bloc festival website were available: in fact, the Bloc happened in
March 2010, while South West Four performed throughout the
research period.

Nevertheless it has been possible to get valuable insights form the

KPIs (Key Performances Indicators) reported in the table above:

KPI BLOC SOUTH WEST FOUR

TRAFFIC RANK 2236, 588 204, 316

VISITS FROM THE 48.00000 (Last 49.600000 (Last

SEARCH ENGINE Month) Month)

TOP QUERIES FROM Bloc: 44, 11 % SW4: 22.17 %

SEARCH TRAFFIC
Bloc Weekend: 17,84 South West Four:
% 19.71%

Bloc Festival: 9, 55% SW4 Festival: 15.30%

Bloc 2010: 2,06 % Southwest Four:

4.96%
Bloc Weekend
Lineup: 1,95% Festival SW4: 2.07%

AUDIENCE Age: 25- 34 Age: 25- 34

DEMOGRAPHICS
Education: Graduate Education: Graduate
school school

Gender: Male Gender: Male

Children: no Children: no

Browsing Location: Browsing Location:

work work

Income: 30k-60K Income: 0k-30K

UPSTREAM SITES www.google.co.uk: www.google.co.uk:

38,4% 42,50%

www.facebook.com: www.facebook.com:
35,2% 30,00%

www.google.com: www.google.com: 27,

26,4% 50%
DOWNSTREAM SITES www.facebook.com: www.facebook.com:
41,50% 48, 39%

www.google.co.uk: www.google.co.uk:
35,6% 19,35%

www.google.com: www.google.com:
27,50% 32,26%

SITES LINKING IN 129 159

Source: www.alexa.com, updated August 30th 2010.

The 'traffic rank' data is calculated using a combination of average

daily visitors to southwestfour.com and pageviews
(www.alexa.com), it is noticeable the successful Ranking of South
West Four in the three months previous to the live experience and
impressive the long-term 'fans retention' performed by Bloc.

Search engines strongly influence the website visits as well as the

'clickstream'. This data, records the documentation of the
navigation paths, both before (upstream) and after (downstream)
visiting the website. The clickstream results are a further validation
of the importance of planning and realising search engine-friendly
website content.

The 'top queries from search traffic' indicate the popularity of the
Brand Names among the Internet crowd but do not confirm the
primary importance of the Lineup attributed by the festival
promoters.

The 'audience demographics' of the two festivals are like mirror

images, the only difference is the 'income' of the website visitors,
possibly as consequence of the festivals locations. Mapping
statistical data is a procedure that can support and endorse the
analysis of the contemporary tendency to 'cluster' around shared
cultural interests (Bilton, 2007; Cova, 2006; Van Heur, 2008).

The 'linking in' calculates the number of sites linking to the website
under examination. It is a measure of the website reputation
(www.alexa.com) and manifest evidence of the value of networked
partnerships in online traffic expansion.

The clickstream conveyed through Facebook is extremely

significant, it confirms the reported above appreciations of the
Social Network support in the online promotional campaign stated
by both the PR managers. Additionally, it corroborates the
information substantiated through academic debate and business
trends. Both, in fact have underlined the worthiness of Social
Networks to succeed in the competitive and interactive Internet
arena (Advertising Age, 2010; Bart et al, 2005; Boorsma, 2006;
Chaffey, 2010; Chan- Olmsted, 2004; Diorio, 2001; Econsultancy,
2009; Haeilen and Kaplan, 2009; Henderson, 2010, Kursan and
Mihic, 2009; Jarvis, 2010; Jones et al, 2008; Meisel and Sullivan,
2002; Meerman- Scott, 2010; Myron, 2010; Obringer, 2010; O'reilly,
2005; Pelsmaker et al, 2010; Peltier et al, 2003; Ryan and Jones,
2009; SDL, 2010; Schmitt, 1999; Schmitt, 2009; Shimp, 2010 ).

5. Conclusion

Bloc Weekend and South West Four can be considered established

businesses within the 'youth online marketplace'. They are powerful
hybrids between emerging and traditional music industry,
promoting the original form of live music performances within an
environment created by recent technological and sociological
breakthroughs (Bilton, 2007; Cova, 2007). It is interesting to see
how they reached the grade of experience in which research and
dynamic stability combine the best of mass customization and
continuous improvements aimed to long-term customer
relationships (Mintzberg et al, 2002). Both promotional campaigns'
e-crm: electronic customer relationship management (Chaffey et al,
2009) is positioned towards the continuous implementation of tools
and communication facilities that position the brands in a
competitive and compelling rank among the networked marketplace
(Schmitt, 2009; Shimp, 2010). Working in relation to the effective
marketing segmentation, the organisations are aware of the
emotional component that influences the participation to the live
experience (Morgan, 2008; Schmitt, 2010). The two online
promotions undertook the challenge of the interactive audience
participation, creatively updating the value proposition in order to
reach the hype (Jenkins and Deuze, 2008; Van Heur, 2008).
Harnessing the customer dialogue to straightaway convey the worth
and evolution of their services, the brands create the emotional
connection and the sense of community essential to establish the
bond of trust that motivate participation to the event (Bilton, 2007;
Fathom, 2009; Gangadharbartala, 2008).

In the contemporary 'New media renaissance' in which ubiquity,

interactivity and networking featured in the digital realm are
merging to physical spaces (Sauter, 2010), the online promotion of
a music festival should transpose on a disembodied surface the
contents of the 'live, real, experience'.

The research, if more time and financial support were allocated,

could be endorsed with the juxtaposition of the findings with the
audience feedbacks of the experience. The fans played an
interactive role in the promotion of both live music experiences;
therefore their voices could proffer further worthwhile insights to
improve the value proposition.
 The contribution of new media to the management of interactions
with stakeholders constitutes a further aspect of the 'branding
equity' of the festival experience, and could trigger ulterior
developments of this study (Kusek and Lehonard, 2006; Waddel et
al, 2007). Indeed the value proposition should benefit also the
intermediaries, opinion leaders, local communities, and the
connections related to the ancillaries (Gelder and Robision, 2009;
Long and Robinson, 2004; Morgan, 2008; MudValley, 2010; Sdl,
Winning, 2010). The sustainable coordination of the logistic,
partnerships, and human resources should be orchestrated under
the idea of 'collaborative practice' (Winning, 2010). Harnessing the
networking power of New Media will convey to creative patterns of
activity in which shaping the architecture of the festival experience.

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