How Sony deals with fandoms
Iâve been to an international in-house PR summit hosted by one of my clients this week and nearly fell off my chair when one of the guest speakers was a VERY important person from Sony Music Entertainment. Letâs call him John. I wonât disclose his function and real name because I donât want to reveal where I was, but based on his title he definitely knows what heâs saying and has a lot of industry experience.
His speech was mainly  about how to engage with a variety of different target audiences. Of bloody course one of the first slides he showed was a picture of 1D engaging with fans which was supposed to drive the point home that there are some audiences who are more passionate about a brand than others.He mentioned then that heâs worked with 1D on their albums which drove me into a bit of a freeze.
Because Iâm embarrassing, I recorded parts of his speech on my phone and wrote the most important things down to share some interesting insights he gave about how Sony manages their artistsâ target audiences, crafts their artistsâ social media actions and deals with the fact that at the end of the day they always need to get people to buy music.
 HOW DOES SONY UNDERSTAND AND MONITOR AUDIENCES (like fandoms for instance)?
According to John, they have their very own data-driven digital tool that helps them identify and manage different target groups for an artist (itâs not perfected yet but has been rolled out a lot of countries, I think he said 50?) and see where there might be connections to other artists, who the influencers are, what the specific target groups are or will be interested in and to identify collaboration opportunities. Target groups are being split into four categories: Fanatics, enthusiasts, casuals, indifferents. These segments are being broken down into even smaller groups defined by age, genre preference, gender and country. They found that the older you get, the less likely youâll be a fanatic or enthusiast. How does Sony find this stuff out? Well, they survey polled music audiences of every age in a way that covers either nationally representatives or represent one of the major top tier cities. People shared their music preferences, consumption habits, lifestyle, media habits etc. Sony gathered all that information, analysed the insights and created their own audience understanding tool.
According to John, that way everyone at Sony has access to an interactive map of the world of Sony that looks into segmentations and audiences for every artist while being searchable in a number of different ways. The tool is pulling from real data, but they are also adding to that âwith things like analytics of platforms like Spotify where we are able to gather lots of informations about user behaviours and reference that against things that we doâ.
 HOW SONY STRATEGICALLY SHAPES PR STORIES
John gave the example of Snoop Doggy Dog who had launched a new album (song? Idk) around that time: âThere was a week-long debate in parliament around the legalization of Marihuana, so we just jumped on this conversation and did lots of social marketing around Snoop with his rolling papers and his spliffs⌠so maybe thatâs bad taste, Iâll allow you to judge that for yourselves. The point is though that you are also marketing into a wider cultural context. [You need] an understanding how that works and where you can have a conversation that is seamless and not fake, genuineness is quite important.
âThe way you can get people to connect is: Youâve got a lot of stuff that you want to say. Start under the assumption that people actually donât give a shit about 95 percent of it. And then see which are the bits that might overlap. This is where the understanding of the audience really comes into its own. It forces us to think before we jump to execution. The quest for relevance is vitally important.â
Why are people to connect with a brand/band though? John thinks this is one of the most underused questions when planning an approach. Why is it that they do specific things? He gave an example: âWe would normally take a record to radio because we always believe that radio is the thing that breaks the record. But if my core audience, my phase one audience â the people that are gonna give that band its first lift â are on Spotify, what am I doing on radio??â
ENGAGEMENT AROUND ARTIST IS KEY
âThe thing is that you donât start with a conversation around a product. The consumption of the product is the end point of a journey where you built an engagement and a fan. So again, for us that means that when we sit down and do our plan around our next Robbie Williams album, we start with âHow are we gonna maximize the engagement around Robbie Williamsâ? because that will then sell us albums. Not âOkay, weâll be releasing in a week in November, eight weeks out we need to be here, here and hereâ. So weâre not doing product launches anymore unless [it is suitable for the target demographic]. We have to built a tension and an engagement around an artist.â
 ABOUT THEIR ARTISTSâ SOCIAL MEDIA CHANNELS
âWe run most of our artists social media channels or at least their official  pages, so we are involved in all of those conversations.â
Shocking, I know.
Based on the situation we face in this fandom,with this band, feel free to draw your own conclusions about what this information means.
HERE ARE MY KEY TAKEAWAYS:
1.      Itâs not news at all, but the existence of their own audience understandig tool confirms it: the 1D fandom is being monitored, segmented and analyzed. Sonyâs strategies are tightly tied to that fact. Collaborations or artist interactions such as Louis/James Arthur or One Direction/ Little Mix are most likely the result of a data-driven analysis of whose fan groups are similar and whose are likely to be open towards that particular other artist too.
2.      Again no news, but the example of Snoop Doggy Dog shows that there are strategies behind even the most random photos. Often placements of specific pictures or stories serve a wider purpose. Hello pap walks, hello b**ygate, hello Louis Twitter, hello Liam visibly being linked to L.A.âs cool singer/songwriter crowd before his first album drop. Â
3.      The decision to not promote Louisâ song could very well have been a logical outcome of the team asking themselves the question âWhy?â: Why should we promote his song with huge effort when we KNOW his own fans are going to do it passionately, especially if they think  we donât give a shit? Why not playing that game in order to make them promo it the hardest way they can?â Why indeed??
4.      One Direction is a huge deal for Sony. John was talking about a lot of bands during his speech but whenever he was talking about major acts, he always listed One Direction amongst them (along with gems like Beyonce, David Bowie, Adele). He name-dropped them at least 5 -6 times in a 60 minute speech. He really didnât have to because the audience was in no way whatsoever a target audience. So yes, they clearly have been and are a very huge deal for them.
5.      The part about social media? Well :))))))
