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Differentiating the Message Meg Williams, New Zealand Festival The New Zealand Festival attracts around 72,000 people to purchase tickets at more than 70 unique arts events. When every show is different and every person is different – how do you match them up with your messaging? Festival Marketing and Development Manager Meg Williams will look at ways to differentiate the message for a range of audience segments, using examples from the recent 2014 New Zealand Festival and give frank feedback about what worked and what didn’t. Meg will provide tips on creating relevant content, the power of endorsement and recommendation, being active in your communities and personalising the arts experience. This session would be relevant to anyone who is working on targeted plans to attract audiences to arts events. This is an interactive breakout which you’ll leave with a number of methods to put into practice in your organisation as well as a takeaway planner.
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Differentiating the Message Meg Williams – New Zealand Festival Trust
The Context
Strategy
• Creating extraordinary encounters through art
• Making Wellington the stage and everyone a player
Audience Development Strategy
• Big audience goals
• Welcoming the world to Wellington
Segmented Marketing Plan
• Targeted audience goals
• Targeted marketing and communication
The Context
Strategy
• Creating extraordinary encounters through art
• Making Wellington the stage and everyone a player
Audience Development Strategy
• Big audience goals
• Welcoming the world to Wellington
Segmented Marketing Plan
• Targeted audience goals
• Targeted marketing and communication
The Context
Strategy
• Creating extraordinary encounters through art
• Making Wellington the stage and everyone a player
Audience Development Strategy
• Big audience goals
• Welcoming the world to Wellington
Segmented Marketing Plan
• Targeted audience goals
• Targeted marketing and communication activity
Our Process
Event Profile
• Start with the art
• Interrogate it: good and bad
• Get to know it
Audience Segment Profile
• Who are they?
• How can we best talk to them?
• Barriers to attendance
Segmented Marketing Plan
• Marketing channels
• Marketing proposition
Our Process
Event Profile
• Start with the art
• Interrogate it: good and bad
• Get to know it
Audience Segment Profile
• Who are they?
• How can we best talk to them?
• Barriers to attendance
Segmented Marketing Plan
• Marketing channels
• Marketing proposition
Our Process
Event Profile
• Start with the art
• Interrogate it: good and bad
• Get to know it
Audience Segment Profile
• Who are they?
• How can we best talk to them?
• Barriers to attendance
Segmented Marketing Plan
• Marketing channels
• Marketing proposition
Matching up the message
Audience 70,000 ppl
Events 70 shows
Marketing
Matching up the message
Event #1
Event #2
Event #3
Audience Segment
Audience Segment
Audience Segment
Targeted Marketing
Targeted Marketing
Targeted Marketing
“Segmentation offers mass personalisation”
Audience Segment Eg Essence
Matching up the message “Segmentation offers mass personalisation”
Targeted Marketing Events
Matching up the message
Event #1
Event #2
Event #3
Targeted Marketing
Targeted Marketing
Targeted Marketing
“Segmentation offers mass personalisation”
Audience Segments
Audience Segments
Audience Segments
The Contact Season of Power Plant
Event Profile
Case Study: Power Plant Event Profile Outdoor exhibition of sound and light art installations
running for 18 days with multiple sessions per day Target 15,000 attenders and $300,000+ income The Good Offered a unique, world-class arts experience Suitable for most ages and can be made affordable Fits the “Wellington is the stage” vision The Bad Unknown artists and event in New Zealand Sales history elsewhere = late bookers Lack of great image and video content
“Calling your event a ‘sound and light installation’, and asking the ordinary citizens
of Liverpool to pay to watch it in a park at night, hardly seemed like a sure-fire way to pull in the crowds. [None] of the artists had much of a public profile…the weather was
about as uninviting as it ever is”
The Sunday Times
Case Study: Power Plant Audience Segment Profile
Who are they?
How can we best talk to them?
Barriers to attendance
Notes
Essence
Brochure and website Direct communications Arts media Social networks
Need to feel it is stand out and high quality Attracted to many other cultural events
Early bookers and key influencers
Expression
Mainstream media and advertising Word of mouth Community engagement
Don’t like to take risks Unknown event Busy
Influenced by recommendation – likely to book late
Affirmation
Lifestyle media Direct comms through their existing networks Community engagement
Seek value for family Attending other events already Somewhat risk averse
Influenced by recommendation – likely to book late
Case Study: Power Plant Campaign Outline
Pre-event phase
• National
• Influencers
• More Essence & Stimulation
• Early adopters in Expression and Affirmation
• Group bookings
Event phase
• Regional / local
• More Expression and Affirmation
• Mass booking of individuals
• New audiences
Case Study: Power Plant Customised content
Case Study: Power Plant Customised content
Case Study: Power Plant Power of recommendation
WOM top five Festival tools 1000 Contact staff attended the rehearsal Mainstream media and social media
influencers invited
Generated over 30 pieces of national and regional coverage on TV, radio, online media
“Walking through Power Plant will likely make you feel like a kid again” The Dominion Post
Case Study: Power Plant Harnessing Contact’s community
Case Study: Power Plant Communities not customers
Launch at Tulip Sunday Volunteers Group sales to local schools
as fundraisers Community event
activation teams…
“Every encounter, real or virtual… is an opportunity to make a really powerful connection with an audience member” – The Big Conversation
Case Study: Power Plant Results Exceeded attendance target and budget 23,000 attenders against 15,000 target 155% box office target When the Festival opened were only 50% of target Most visited website page 30,000+ unique visits 3000 people visited the Contact Light Tunnel
Discovered so much through one on one engagement with
audiences as part of community activation, helped us tweak the message and try new approaches…
The Big Conversation
If you could have a conversation with a potential audience member before you tried to sell them a ticket, what would you want to ask them?
Demographics you can get from data Psychographics come from listening…
Workshop: The Producer
Event Profile
• Start with the art
• Interrogate it: Good and Bad
Audience Segment Profile
• Who are they?
• How can we best talk to them?
• Barriers to attendance
Segmented Marketing Plan
• Marketing channels
• Marketing proposition
5 minutes Pick a show you are going to
produce / are producing / have produced / have attended – Tip: Make it relevant to you
Pick another Producer partner and complete the Event Profile
Workshop: The Researcher
Event Profile
• Start with the art
• Interrogate it: good and bad
• Get to know it
Audience Segment Profile
• Who are they?
• How can we best talk to them?
• Barriers to attendance
Segmented Marketing Plan
• Marketing channels
• Marketing proposition
5 minutes Open your envelope Call the number on your mobile
and have a conversation with the person on the end of the line TIPs: Don’t worry about demographics –
find out about who they are/what they like They know you are going to call –
and are friendly folk!
Complete the Audience Member Profile
LIVE MARKET RESEARCH EXPERIMENT!!!
Workshop: The Plan
10 mins Pair up Researcher and Producer Imagine the Researcher is responsible for
marketing the Producer’s event to the audience member they just talked to
Together complete the segmented marketing plan
