1. Project Objectives

2. Project Objectives
Widen and deepen Veronica's visibility in the
market:

3. Project Objectives
Widen and deepen Veronica's visibility in the
market:
● To establish the brand

4. Project Objectives
Widen and deepen Veronica's visibility in the
market:
● To establish the brand
● To encourage greater social engagement with
the brand

5. Project Objectives
Widen and deepen Veronica's visibility in the
market:
● To establish the brand
● To encourage greater social engagement with
the brand
● To monetise through:
– Music product sales (physical/digital, domestic &
international)

6. Project Objectives
Widen and deepen Veronica's visibility in the
market:
● To establish the brand
● To encourage greater social engagement with
the brand
● To monetise through:
– Music product sales (physical/digital, domestic &
international)
– Live shows (domestic emphasis & international
showcases)

7. Project Objectives
Widen and deepen Veronica's visibility in the
market:
● To establish the brand
● To encourage greater social engagement with
the brand
● To monetise through:
– Music product sales (physical/digital, domestic &
international)
– Live shows (domestic emphasis & international
showcases)
– Sync, international licensing, fashion and
merchandise sales

8. Project Objectives
● To invoke major label interest – not that this
interest needs to be acted upon

9. Project Objectives
● To invoke major label interest – not that this
interest needs to be acted upon
● Create the circumstances to make Malcolm's
exit possible or invite further investment if
required

10. The Landscape

11. The Landscape
● Global recorded music sales in 2011 were
US$16.3 bn (IFPI)

12. The Landscape
● Global recorded music sales in 2011 were
US$16.3 bn (IFPI)
● Physical format sales were $10.2 bn (62%)

13. The Landscape
● Global recorded music sales in 2011 were
US$16.3 bn (IFPI)
● Physical format sales were $10.2 bn (62%)
● Digital now accounts for 31% of overall
recorded music revenues, up from 29% in 2010

14. The Landscape
● Global recorded music sales in 2011 were
US$16.3 bn (IFPI)
● Physical format sales were $10.2 bn (62%)
● Digital now accounts for 31% of overall
recorded music revenues, up from 29% in 2010
● UK-based artists accounted for almost 12% of
global recorded music sales in 2010

15. The Landscape
● Global recorded music sales in 2011 were
US$16.3 bn (IFPI)
● Physical format sales were $10.2 bn (62%)
● Digital now accounts for 31% of overall
recorded music revenues, up from 29% in 2010
● UK-based artists accounted for almost 12% of
global recorded music sales in 2010
● Synchronisation earnings grew by 5.7% in 2011
(totaling $342 million, up from $324 million the
previous year) and accounted for 2% of global
recorded music revenue.

16. The Landscape
Brand partnerships and synch deals have
grown in importance. These include a new
generation of brand partnership and
synchronisation deals, involving the use of
recordings in:
● TV
● Film
● Games
● Adverts

17. The Landscape
Ellie Goulding's cover of Your Song was used
in a John Lewis advertising campaign.
This generated direct income and also helped
lift the sales of her album by an additional
400,000 copies.

18. Why a label?
● Having a legally-constituted profitable label will
make her a far more attractive proposition in
terms of being signed to a risk-averse major

19. Why a label?
● Having a legally-constituted profitable label will
make her a far more attractive proposition in
terms of being signed to a risk-averse major
● The terms of any major label buyout will be
more favourable and yield a greater ROI

20. Why a label?
● Having a legally-constituted profitable label will
make her a far more attractive proposition in
terms of being signed to a risk-averse major
● The terms of any major label buyout will be
more favourable and yield a greater ROI
● She will have the resources to explore so many
more revenue streams – many of which can be
substantial i.e. International licensing, sync,
fashion merchandise

21. Why a label?
● Fewer employees and lower fixed costs means
the label is structured to make more money
with fewer sales

22. Why a label?
● Fewer employees and lower fixed costs means
the label is structured to make more money
with fewer sales
● A substantial, established, measurable fan
base and sales track record will enable her to
negotiate more favourable terms in a major
recording contract

23. Why a label?
● Fewer employees and lower fixed costs means
the label is structured to make more money
with fewer sales
● A substantial, established, measurable fan
base and sales track record will enable her to
negotiate more favourable terms in a major
recording contract
● Even if she had the time to attend to all of the
various functions which go into launching a new
artist, these areas are not her specialism

24. Why a label?
● She needs to minimise distractions to focus on
artist development

25. Why a label?
● She needs to minimise distractions to focus on
artist development
● Knowing she is supported by a team of
specialists will give her greater confidence both
on and off stage

26. Why a label?
● She needs to minimise distractions to focus on
artist development
● Knowing she is supported by a team of
specialists will give her greater confidence both
on and off stage
● Absence of bureaucracy means all functions
are more immediate and responsive. This can
facilitate access to more varied musical
audiences when (for example) a studio session
yields a new bhangra track!

27. Why a label?
● A more direct path from the creation of her
music to its promotion helps safeguard her
original vision. This will lead to a far more
authentic and unaffected creative output

28. Why a label?
● A more direct path from the creation of her
music to its promotion helps safeguard her
original vision. This will lead to a far more
authentic and unaffected creative output
● Independent labels often have a particular
sound, and fans of artists signed to a certain
label often trust it to deliver music that they like

29. Breaking a new Artist

30. Breaking a new Artist
3 budget scenarios:
● £150,000 + – UK-based campaign

31. Breaking a new Artist
3 budget scenarios:
● £150,000 + – UK-based campaign
● £350,000 + – Pan-European campaign

32. Breaking a new Artist
3 budget scenarios:
● £150,000 + – UK-based campaign
● £350,000 + – Pan-European campaign
● £500,000 + – Global campaign

33. Breaking a new Artist
The costs for breaking a new artist can be
roughly divided into the 80:20 ratio:

34. Breaking a new Artist
The costs for breaking a new artist can be
roughly divided into the 80:20 ratio:
● 20% (£6752 p/mth x 12 = £81,024)

35. Breaking a new Artist
The costs for breaking a new artist can be
roughly divided into the 80:20 ratio:
● 20% (£6752 p/mth x 12 = £81,024)
● Veronica's artist development costs £1,140
– Singing lessons £400
– Trainer £600
– Dancing lessons £80
– Promotional subscriptions £60

36. Breaking a new Artist
The costs for breaking a new artist can be
roughly divided into the 80:20 ratio:
● 20% (£6752 p/mth x 12 = £81,024)
● Veronica's artist development costs £1,140
– Singing lessons £400
– Trainer £600
– Dancing lessons £80
– Promotional subscriptions £60
● Monthly subsistence £1,612
– Food £500
– Rent £600

37. Breaking a new Artist
– Phone £80
– Oyster £132
– Social/personal £300

38. Breaking a new Artist
–Phone £80
–Oyster £132
–Social/personal £300
● Recording costs (Kevin) £2,000

39. Breaking a new Artist
– Phone £80
– Oyster £132
– Social/personal £300
● Recording costs (Kevin) £2,000
● Label planning, set up & mgmnt (Stewart) £2,000

40. Breaking a new Artist
– Phone £80
– Oyster £132
– Social/personal £300
● Recording costs (Kevin) £2,000
● Label planning, set up & mgmnt (Stewart) £2,000
● 80% (£35000 p/mth x 12 = £418000)
● Video production
● Tour support
● Marketing & promotional
● Set up costs/legal, office space, desking, computers, employer's
liability insurance, internet
● Staff & interns costs
● Fashion design & distribution

41. Breaking a new Artist
One-off costume and wardrobe costs:
● 10 x costumes (gigs/videos) @ £1500 ea
● 5 x outfits (interviews) @ £800 ea
Total: £19,000

42. Label Structure

43. Label Structure
A&R/Artist ● Artist Development will be
International Publishing
Development concerned with the overall
planning of Veronica's career,
generally helping them make the
Marketing Art right artistic and commercial
decisions.
New
● It will involve everything from
Legal Media assisting Veronica with song
selection to choosing the people
that will produce recordings,
Label Publicity deciding where they will be
Liaison recorded, mixed and mastered.
● Negotiating fees, booking any
Sales Promotion extra session singers, musicians
or ‘guests’ and taking delivery of
the masters and so on.
Business ● Show production, choreography,
Affairs costume, set and lighting design
of shows.

44. Label Structure
A&R/Artist ● Marketing will create the overall
International Publishing
Development marketing plan behind all label
output.
Marketing Art
● It will be responsible for planning
and coordinating all artwork, new
media, publicity, promotion and
New sales.
Legal Media
Label Publicity
Liaison
Sales Promotion
Business
Affairs

45. Label Structure
A&R/Artist Artwork will be required for all
International Publishing
Development marketing collateral whether it be
web banners, point of sale
material or CD covers.
Marketing Art
New
Legal Media
Label Publicity
Liaison
Sales Promotion
Business
Affairs

46. Label Structure
A&R/Artist ● New media will be in charge of
International Publishing
Development dealing with the newer aspects of
marketing, including producing
and promoting music videos for
Marketing Art Veronica. In addition, this function
will be responsible for helping her
create a presence on the Internet
New including her website and blog as
Legal Media well as regular updates, blog
posts and newsletters.
Label Publicity
● It will deal with all production and
Liaison implementation of new
technologies with which she can
stream her music and music
Sales Promotion videos through the Internet, social
media, mobile apps etc.
● Will also plan and coordinate all
Business search engine optimisation and
Affairs pay-per-click campaigns.

47. Label Structure
A&R/Artist ● Publicity will be responsible for
International Publishing
Development getting the word out about
Veronica, arranging for articles to
be written in newspapers and
Marketing Art magazines.
● It will also deal with radio and
New television coverage.
Legal Media
Label Publicity
Liaison
Sales Promotion
Business
Affairs

48. Label Structure
A&R/Artist ● Promotion's main purpose will be
International Publishing
Development to make sure that Veronica is
being played on the radio.
Marketing Art
● The promotion department may
also try to get videos played on
terrestrial video i.e. MTV. This
New can be the responsibility of
Legal Media Promotions or in conjunction with
the New Media department.
Label Publicity
Liaison
Sales Promotion
Business
Affairs

49. Label Structure
A&R/Artist ● Responsible for all the contracts
International Publishing
Development that are made between the
company and 3rd parties.
Marketing Art
● Any legal issues that arise go
through this function.
New
Legal Media
Label Publicity
Liaison
Sales Promotion
Business
Affairs

50. Label Structure
A&R/Artist ● Will serve as the liaison to all the
International Publishing
Development label's various online distribution
outlets.
Marketing Art
● Will also help decide when to
release material and that all
functions are producing
New deliverables to deadlines within
Legal Media the release schedule.
Label Publicity
Liaison
Sales Promotion
Business
Affairs

51. Label Structure
A&R/Artist ● The sales function will oversee
International Publishing
Development the offline retail aspect of the
record business.
Marketing Art
● It will work with record stores to
get Veronica's material onto
retailers' shelves. It will
New coordinate these efforts with the
Legal Media label liaison.
Label Publicity
Liaison
Sales Promotion
Business
Affairs

52. Label Structure
A&R/Artist This function will deal with the
International Publishing
Development business side of things, taking
care of:
Marketing Art
● Book-keeping, filing of accounts,
VAT returns
● Payroll
New
Legal Media ● Budget sign-off
● HR
Label Publicity
Liaison
Sales Promotion
Business
Affairs

53. Label Structure
A&R/Artist Responsible for getting product
International Publishing
Development into other 'territories' abroad,
usually through licensing. I.e.
Engineering Veronica's break into
Marketing Art the US or across Europe.
New
Legal Media
Label Publicity
Liaison
Sales Promotion
Business
Affairs

54. Label Structure
A&R/Artist Collecting license fees from:
International Publishing
Development
● UK ollection societies
● Foreign royalty organisations
Marketing Art
● Sync licenses
New ● Sheet music etc
Legal Media Promoting material to other
potential users to maximise
Label earnings such as:
Publicity
Liaison ● Other record labels
● Sync licensees
Sales Promotion
● Advertising agencies
Business
Affairs

55. Marketing Approach

56. Marketing Approach
Terry McBride
● Nettwerk Music Group

57. Marketing Approach
Terry McBride
● Nettwerk Music Group
– Released more than 500 albums and sold more
than 150 million albums worldwide

58. Marketing Approach
Terry McBride
● Nettwerk Music Group
– Released more than 500 albums and sold more
than 150 million albums worldwide.
– Nettwerk Productions (Canada's largest
independent record label)

59. Marketing Approach
Terry McBride
● Nettwerk Music Group
– Released more than 500 albums and sold more
than 150 million albums worldwide.
– Nettwerk Productions (Canada's largest
independent record label)
– Nettwerk Management (artist and producer
management)

60. Marketing Approach
Terry McBride
● Nettwerk Music Group
– Released more than 500 albums and sold more
than 150 million albums worldwide.
– Nettwerk Productions (Canada's largest
independent record label)
– Nettwerk Management (artist and producer
management)
– Nettwerk One (publishing)

61. Marketing Approach
Terry McBride
● Nettwerk Music Group
– Released more than 500 albums and sold more
than 150 million albums worldwide.
– Nettwerk Productions (Canada's largest
independent record label)
– Nettwerk Management (artist and producer
management)
– Nettwerk One (publishing)
– Artwerks (graphic and fashion design)

62. Marketing Approach
Has Managed:
● Sarah McLachlan
● Coldplay
● Avril Lavigne
● Barenaked Ladies
● Dido
● Stereophonics
● Jamiroquai

63. Marketing Approach
Companies create product brands by defining
the 'values' their brand extolls.

64. Marketing Approach
Companies create product brands by defining
the 'values' their brand extolls.
This gives the product a 'personality' the
consumer can identify with.

65. Marketing Approach
Companies create product brands by defining
the 'values' their brand extolls.
This gives the product a 'personality' the
consumer can identify with.
In the music industry, the music is not the
brand.

66. Marketing Approach
Companies create product brands by defining
the 'values' their brand extolls.
This gives the product a 'personality' the
consumer can identify with.
In the music industry, the music is not the
brand.
The artist is the brand.

67. Marketing Approach
Companies create product brands by defining
the 'values' their brand extolls.
This gives the product a 'personality' the
consumer can identify with.
In the music industry, the music is not the
brand.
The artist is the brand. Veronica is the brand.

68. Marketing Approach
Companies create product brands by defining
the 'values' their brand extolls.
This gives the product a 'personality' the
consumer can identify with.
In the music industry, the music is not the
brand.
The artist is the brand. Veronica is the brand.
It is her personality and lifestyle and the ways
and means with which they are projected into
the market that will establish her fanbase.

69. Marketing Approach
She expresses her brand 'values' through:

70. Marketing Approach
She expresses her brand 'values' through:
● The music she releases

71. Marketing Approach
She expresses her brand 'values' through:
● The music she releases
● The videos she appears in

72. Marketing Approach
She expresses her brand 'values' through:
● The music she releases
● The videos she appears in
● The music she listens to

73. Marketing Approach
She expresses her brand 'values' through:
● The music she releases
● The videos she appears in
● The music she listens to
● The artists with whom she associates

74. Marketing Approach
She expresses her brand 'values' through:
● The music she releases
● The videos she appears in
● The music she listens to
● The artists with whom she associates
● The causes she aligns with

75. Marketing Approach
She expresses her brand 'values' through:
● The music she releases
● The videos she appears in
● The music she listens to
● The artists with whom she associates
● The causes she aligns with
● The position she takes on social and/or political
and/or spiritual issues

76. Marketing Approach
● The clothes she wears

77. Marketing Approach
● The clothes she wears
● The food and drink she consumes

78. Marketing Approach
● The clothes she wears
● The food and drink she consumes
● The things she does to stay fit and healthy (or
not!?)

79. Marketing Approach
Artists receive attention for more than just their
music.

80. Marketing Approach
Artists receive attention for more than just their
music.
This is why sponsorships and endorsements
with other brands have become so
commonplace:

81. Marketing Approach
Artists receive attention for more than just their
music.
This is why sponsorships and endorsements
with other brands have become so
commonplace:
● Jay Z and Roc-A-Fella Records (beginning as
an independent outlet for his first album)

82. Marketing Approach
Artists receive attention for more than just their
music.
This is why sponsorships and endorsements
with other brands have become so
commonplace:
● Jay Z and Roc-A-Fella Records (beginning as
an independent outlet for his first album)
● Sean 'P-Diddy Combs' fashion, film and label
ventures (Fashion: 'Sean John' and 'Sean by
Sean Combs' clothing lines)

83. Marketing Approach
● Gwen Stefani's Harajuku Lover Clothing
(brand of apparel, fashion accessories and
stationery launched in 2005) and LAMB
(manufactures accessories like shoes,
watches, bags and a fragrance called 'L')

84. Marketing Approach
● Gwen Stefani's Harajuku Lover Clothing
(brand of apparel, fashion accessories and
stationery launched in 2005) and LAMB
(manufactures accessories like shoes,
watches, bags and a fragrance called 'L')
● Foo Fighters playing fans' personal garages on
behalf of BlackBerry

85. Marketing Approach
● Gwen Stefani's Harajuku Lover Clothing
(brand of apparel, fashion accessories and
stationery launched in 2005) and LAMB
(manufactures accessories like shoes,
watches, bags and a fragrance called 'L')
● Foo Fighters playing fans' personal garages on
behalf of BlackBerry
● Lady Gaga calling a fan every night from the
stage through Virgin Mobile on the
Monster Ball tour

86. Marketing Approach
The 8 key brand-building principles for
monetisation:

87. Marketing Approach
The 8 key brand-building principles for
monetisation:
● Cause alignment (joint-venturing from a social
and/or commercial perspective)

88. Marketing Approach
The 8 key brand-building principles for
monetisation:
● Cause alignment (joint-venturing from a social
and/or commercial perspective)
● Authenticity (the artist doesn't invent their
identity but discovers it, telling the truth in an
engaging and creative, authentic way)

89. Marketing Approach
The 8 key brand-building principles for
monetisation:
● Cause alignment (joint-venturing from a social
and/or commercial perspective)
● Authenticity (the artist doesn't invent their
identity but discovers it, telling the truth in an
engaging and creative, authentic way)
● Interdependence (using recycled components
for packaging and printing with vegetable-
based inks and/or look at ways of reducing
carbon footprint for touring)

90. Marketing Approach
● Direct relationships (treat fans as the final
member of the band and include them in the
creative process)

91. Marketing Approach
● Direct relationships (treat fans as the final
member of the band and include them in the
creative process)
● Searchability (enabling content to be found as
easily as possible in a way that is informative,
interesting and attractive)

92. Marketing Approach
● Direct relationships (treat fans as the final
member of the band and include them in the
creative process)
● Searchability (enabling content to be found as
easily as possible in a way that is informative,
interesting and attractive)
● Interpretation (produce instrumental and a
capella versions, sheet music, the
instructional video showing how to perform the
song on guitar or piano, technical studio
effects, mixdown approach etc)

93. Marketing Approach
● Immediacy (reward fans for being first in the
queue, getting information first, versus making
them spend time to find it)

94. Marketing Approach
● Immediacy (reward fans for being first in the
queue, getting information first, versus making
them spend time to find it)
● Personalisation (different language versions for
international markets and/or lyric translations)