Describe the creative idea Spotify created the streaming category - but it now faces a number of formidable competitors. One of Spotify's key advantages is its 200 million users, which are not only the world’s biggest music audience, but also the most passionate. Spotify’s growth has been driven by the advocacy of our users, along with the content of the world’s musicians. For millions of listeners, Spotify’s personalized end-of-year data recap has become an annual tradition that’s as keenly anticipated as the holiday season itself. We rewarded this loyalty with an elevated user experience, while also opening it up to the creators who inspire their passion every day. In 2018, artists were invited to relive and celebrate their Spotify data as well. Describe the execution No two people use Spotify the exact same way, so we built a site experience that was unique for everyone. Color was used for personalization, with the colors in each user’s experience being dictated by their own listening data. Typography was used for cinematic effect, with animations leading into data stories giving the overall experience a movie title sequence feel. A colorful approach was key to ensure a celebratory feel at the end of an eventful year. Type was key because that was the only way to convey the personalized data for both fans and artists. The personalized digital experience was built over a three-month period, in WebGL. Spotify’s data team created an API, holding the relevant data of nearly 200 million people, which was then accessed to fuel the experience. The site went live in over 60 countries on the same day, and was adapted into 21 languages. During the first day, over 20 million visitors came to the experience, without affecting the site performance. Every data story within the experience could be shared on social channels, and a sharable snapshot was available to every user at the end of the experience. By creating an engaging and visually dynamic experience, we averaged over 2:30 minutes of engagement per visit, from over 34 million consumers. Over 400,000 artists engaged for even longer. While the site’s playlists helped to drive over 4 billion incremental streams, earned media provided a “FOMO” factor for those not on the platform. On the first day of the site’s launch, Spotify Wrapped occupied the top two places on Twitter’s global trends.
Most music listening in the US happens in cars. However, very little of that comes from streaming. The brief was simple. Get people to think about Spotify the next time they think about listening to music in the car. The entire idea is based on a single insight: that we’ve all stayed in the car to let a song play out. From there Spotify showed relatable ways this happens in real life, to real people, and to a song you would stay in the car for. A long-form film was created, and then cut down into 60-, 30-, and 15-second versions, which could be highly targeted in digital channels.
Why is this work relevant for Media? The 2018 Wrapped campaign was a global, integrated effort that consisted of high-impact paid media, performance media, and a digital experience that drove earned media. Background Spotify created the streaming category - but it now faces a number of formidable competitors. One of Spotify's key advantages is its 200 million users, which are not only the world’s biggest music audience, but also the most passionate. Our brief was to create a culturally-relevant and data-fueled campaign that targeted three audiences - current users, non-users, and artists. Describe the creative idea/insights (30% of vote) After what was for some a bleak year, 2018 Wrapped decided to celebrate the creativity of both artists and fans. In colorful OOH placements, we paid tribute the creative and unexpected playlists that had been created by users throughout the year. Online, we created a microsite that allowed users to relive the way they had listened throughout the year, and share the results. And for the first time, the same website gave artists an experience as well. Describe the strategy (20% of vote) The strategy was to use data to encourage desired actions from both consumers and artists, while creating FOMO from non-users. The highly anticipated personalized playlists drove incremental streams during a month that usually sees a dip in consumption. Share functionality throughout the experience drove earned media, functioning as peer-to-peer marketing. In addition, the experience reminded Free users how much they love Spotify - so we targeted them with a “3 months for 99 cents” offer, driving subscription growth. Artists not only drove billions of social impressions by sharing their Spotify data with their biggest fans, but in order to access the experience, they had to register for the “Spotify for Artists” platform - a major priority for our Creator team. Describe the execution (20% of vote) The OOH campaign launched in over 10 global markets in late November, building more anticipation for the online experience. The site went live in over 60 countries on the same day, and was adapted into 21 languages. During the first day, over 20 million visitors came to the experience, without affecting the site performance. List the results (30% of vote) The month of December saw the highest rate of subscription growth in the company’s history. Online, we averaged over 2:30 minutes of engagement per visit, from over 34 million consumers. Over 400,000 artists engaged for even longer. While the site’s playlists helped to drive over 4 billion incremental streams, earned media provided a “FOMO” factor for those not on the platform. On the first day of the site’s launch, Spotify Wrapped occupied the top two places on Twitter’s global trends.
Synopsis In early 2017 the Trump administration introduced the “Travel Ban,” restricting citizens from six majority-Muslim nations from entering the United States. In the wake of this controversy, Spotify decided to lend its hand by elevating the voices of musicians from these communities—and by focusing on music, which has always been at the center of resistance, empowerment, and change. Strategy In keeping with our role as a music company, “I’m With the Banned” aimed to put artists and music at the centre of the narrative. The artists were selected based on their unique stories, and included Waayaha Cusub, a hip-hop collective from Somalia, and Methal, one of the first female musician to play publicly in Yemen. We paired these “banned” artists with big-name U.S. artists in order to extend the reach of the campaign, allowing us to target existing fans of the U.S. artists with new material. And we released the content in sync with the Travel Ban’s path through the news cycle in 2017, to ensure impact and relevance. Relevancy In every era and in every country groups of people have been excluded for their identities and beliefs. 2017 was no exception. But throughout history, these injustices inevitably find an expression in music. So when the U.S. Travel Ban was proposed in early 2017, Spotify created I’m With the Banned. In Toronto, the program brought together six up-and-coming artists from the “banned” nations with six established American artists to create six new collaborative songs. The songs were released with a series of films chronicling each artist’s journey, and have already been streamed over 10 million times. Outcome The songs have been streamed over 10 million times, and 4 landed among the Top 10 most-streamed songs on the Global Viral 50 Chart (a chart on Spotify marking the most viral songs on the platform). The documentary content was viewed over 5.2 million times. I’m With the Banned was also featured at the United Nations’ “Media for Social Impact” summit, and as part of the Global People’s Summit during the UN’s General Assembly. The work was recognized by Muslim Advocates, a leading organization in the space. Most importantly, the campaign made a real impact in the artists’ lives, with artists like Moh Flow and Ahmed Fakroun seeing a 145-270% increase in streams after the launch. This program took Sufyvn from being an artist who wasn’t even on Spotify to an artist with over 4M streams, placement on leading playlists like Are & Be, and over 300K monthly listeners. Execution The musicians met in Toronto, as travel to the U.S. was too uncertain, and the songs were recorded in less than three days. We captured the collaborations for six original films, each of which chronicled the artists’ collaborations as well as the emotional journeys the “banned” artists experienced in getting there. The songs and films were released in multimedia playlists on Spotify. We released the playlists the week of the Supreme Court’s scheduled hearing of arguments on the Travel Ban. Months later, we followed with a long-form documentary at special screening events in LA, New York, and less than one mile from the White House in Washington, D.C.—as well as on the TV channel Viceland. And we promoted the artists in a national OOH campaign, in placements usually reserved for superstars, as well as strategic locations such as airports. CampaignDescription “I’m With the Banned,” was a program that brought artists from each of the six “banned” nations together with American artists—in Toronto—to create six original, collaborative songs. We paired these songs with video content that told each artist’s story. And we supported it all with a nationwide marketing campaign under the headline, “When people can’t travel, music will.” The idea was to put a human face on this policy, and show people around the world what we truly stand to lose when people are banned.