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By Benton Crane,

It drives sales, profits and helps businesses thrive.

Analysts are forecasting the advertising industry is surging back this year.

Brian Wieser from GroupM predicts “In 2021, the American advertising industry is poised to regain all that it lost in 2020 and more.”

As a owner and entrepreneur, that can be discouraging news. In a world flooded with text messages, news, advertisements and constant connection to social media apps, you already know how hard it is to cut through all the noise and connect with both your customers and potential customers.

It’s been well established that advertising — and the world in which we consume advertising — has changed in the last several decades. In the 1970s, the average person saw between 500 and 1,600 ads per day. Today, the average person is estimated to see between 6,000 and 10,000 ads every day.

Social media platforms have played a large role in that increase. Users upload at least 300 hours of video to every minute. processes 40,000 searches every second. Users post 46,740 new photos to every minute, and 300 million photos to every day.

So as a business owner, how do you cut through that noise? The answer lies in your ability to tell a story worth repeating.

Storybrand-style marketing has almost become a cliché in the last 10 years. And like all good clichés, it’s a cliché for a reason. It’s formulaic because it works. Great storytelling drives , profits and helps businesses thrive.

But it’s one thing to tell a story. It’s another to tell a story that stands out enough to trigger a response from your audience, to get them to engage and share your content.

Telling a good story is actually very nuanced. Think about how many stories you hear on a daily basis. From the stories your toddlers or teens tell you to the news you hear on your drive to work to the stories you read online, you can only remember so many. Only a few stick in your mind for very long. And only the very best end up being good enough to repeat to your friends or co-workers.

Good stories — the best stories — move people so much they want to engage with them and tell them to others.

You can break down these effective, noise-cutting storytelling into four main categories:

Controversial stories

This is the type of story or content that gets shared because it riles people up. The problem with controversy is that people know half of their audience will like the story, while the other half might be put off by it, so people think twice about sharing it.

Fear-inducing stories

Fear can also be a powerful motivator in stories, because it strikes at people’s tribal instincts to act in their best interest. They might share the content you create out of concern for others’ best interests, but it also might reveal vulnerability they aren’t ready to share.

Endearing stories

These perform well because they are heart-warming. People want to feel good, and stories that endear your brand to them give them positive feelings.

Humorous stories

People choose to share content because they want to add value to their network, and humour always does that. It’s universally about putting a smile on people’s faces. can take advantage of this by providing humour that adds value to their customers — and potential customers — by incorporating humour into their stories and ads.

But how can you tell if your stories are actually effective and are resonating with your target audience?

The most basic baseline for judging effective advertising is conversions. This is especially crucial when your business is first starting out, because if your product or service isn’t selling you won’t stay alive for long.

But even after making it past the early stages of growth, many businesses and marketers fail to move past the conversion-only metric. The problem is conversion-driven storytelling can make you appear like a used car salesman, doing whatever it takes to get someone’s attention and make a quick sale. This strategy can yield short-term gains but jeopardize the longevity of your business.

You’ll need more if you truly want to cut through the noise, drive sales and engender lasting customer loyalty.

For long-term success, advertisers need to expand their metrics beyond just conversion results to examine how people are engaging with and sharing their stories. These longevity-minded marketers also take into consideration reactions, comments and shares.

You might protest that these are just vanity metrics. And they can be. But they’re also more than that. They help you know whether you’re effectively communicating with your potential customers and creating lifelong, loyal customers.

These so-called vanity metrics are the digital equivalent of a face-to-face conversation with your customer, allowing you to see if your message is resonating and making an emotional connection.

So rather than dismissing responses and engagement as mere window dressing, realize that they can hold the key to creating an emotional connection with your customers. A connection that will establish your customers as loyal brand advocates, giving you the opportunity to bring longevity and security to your business.

By Benton Crane,

Sourced from Entrepreneur Europe

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Agency mergers are a fact of life in the ad industry, but a badly managed process can wreck what was originally great about a business. We gather advice and wisdom from agency chiefs on navigating the M&A maze.

A smart merger or acquisition can take a business to the next level. But after the champagne’s been corked and the confetti swept aside, the hard work isn’t over.

To find out how best to dodge the pitfalls and potholes of the M&A road, we picked the brains of agency bosses at recently acquired or merged businesses.

For Lee Beattie, managing partner and chief executive officer of John Doe Group, a merger was the best way forward for her business, Glasgow-based Wire, to grow. ”We’d reached a point in Scotland where we had won all the best agency awards and we had what we considered the best clients.”

While she and business partner Pam Scobbie had seen success pitching to bigger clients down south, the lack of a London outpost was holding them back. ”It was really bloody difficult,” she says.

So, building on an existing relationship with fellow PR firm John Doe, they embarked on a merger to bring the two firms together. ”We wanted to be up for certain brands… and [John Doe managing director Magin Trewhella] wanted to grow the agency. It felt like a jigsaw puzzle coming together,” she says.

In an ideal world, Beattie says she and her three now-co-owners would have taken a week to sit down and ”bolt through all this stuff.” Instead, the process took a year, longer than is typical – there has been a pandemic to deal with, after all. The newly merged John Doe Group is now pitching for work with a combined headcount of 40, and just announced its first win as a combined enterprise with the Highland Spring account.

Nicolas Roope, co-founder of Poke, recalls its 2013 acquisition, and later merger with two other agencies, by Publicis. He and his partners wanted to continue to grow their business, but market conditions were hardening.

”We thrived in our first 10 years because the incumbents didn’t have a clue,” he says. ”But we got to the end of that period and thought that there probably wasn’t long left for agencies like us as independents. Scale was going to be a problem if we didn’t act.”

Poke shopped around for buyers for about a year before choosing the French conglomerate. ”A lot of the value we’d created at Poke was intangible. We wanted to find somewhere where they appreciated what we’d created. Arthur Sadoun [now chief executive of Publicis Groupe] was driving our acquisition… he was very ambitious, he understood the challenges their network faced – and he understood where we were coming from, the value we were bringing to the table.”

After the original sale in 2013, the company was bedded into the wider network over five years; Roope departed in 2018, after organising its merger as Publicis. Poke. ”It was a parting gift – figuring out how to strategically position this merger enterprise and create something new. But once that merger was completed… I didn’t really have a natural position to occupy, so that was the moment to step out.”

Without the hurdle of an acquisition to deal with, mergers between network agencies can generally proceed quicker. So when WPP decided to merge digital shop VML and storied ad agency Y&R in 2018, it moved fast. Planning for the consolidation began just two months before the merger was unveiled, according to global chief executive officer Jon Cook.

”We moved from conception to launch very quickly,” he tells The Drum. ”We announced we were going to merge at the start of the next year… which bought us some time. While everyone knows it happening, you still have a moment to breathe and put the infrastructure in place. It was a good lesson.”

Team journey

Mergers can rearrange the tectonic plates of a business, leading staff to fear that career trajectories are askew. Moving at speed meant Cook’s team could quickly address one of the biggest areas of concern: assuring the staff of both agencies that they still had a berth.

Transparency and timing are key, he says. ”I learned to be very transparent about what I knew. If you can identify why you’re doing this, what the new brand will be and why it will have value – and communicate that with complete confidence while at the same time being very clear about what you don’t yet know – people are generally going to understand.”

According to Stephen Maher, chair and chief executive officer of the freshly merged customer experience agency MBAstack (formed after MSQ acquired MBA), it’s important to ”reassure everyone that there aren’t going to be redundancies.”

”I just think you have to be upfront. We said that, fundamentally, nothing’s changing. It’ll be the same people, the same relationships and the same culture. There will be refinements, but there will also be more resources because we’ll have more people.”

Beattie advises: ”You have to talk to the team at the right time, when you’re certain that it is definitely going to happen and you can actually answer their questions. Everyone’s going be thinking: what does this mean for me? If you can’t answer that, you probably shouldn’t be having the conversation.”

Managing internal announcements is a little easier when staff number in the dozens. For VMLY&R, hundreds of agency leaders needed to be brought into the fold in advance. ”You need to make a judgement on how many people you need, and can trust, to get the right amount of work done before an announcement. If you have too few you’ll be ill-prepared when you announce. And if you have too many, you’ll run the risk of communications being leaked,” Cook warns.

As the agencies integrated together, Cook says that particular attention was given to managing staff concerns. ”I was sure people would see the value and the strategy in it. But I was nervous – would everybody be able to find their place in that new company? My ultimate fear was that someone would feel smaller as the company got bigger.

”We put a lot of work into making sure that no person felt smaller. We have a lot of people so I can’t say without exception, but I feel we’ve done a good job of making it so you get bigger as we get bigger,” he explains.

Still, some departures are to be expected. Between location changes and the transition to a larger organization, ”you’re going to lose a bunch of people,” says Roope.

He recalls that persuading Poke’s ”extraordinary, eccentric” team was tough. ”One of the biggest challenges of the whole thing is taking the team on the journey. You have to accept you’re moving into a new reality – you can’t take everything that you’ve built. For more seasoned staff who’ve seen these things before, they’ll know what’s coming. But it’s particularly acute people for who’ve been with you for a long time.

”There’s a lot of fear about the consequences of being acquired – did that mean we were going to be like every other Publicis agency?”

Despite occurring during a pandemic-fuelled recession, both the MBAstack and John Doe Group mergers were completed without redundancies. VMLY&R lost about 1% of its global headcount in the wake of the move, though Cook states this was due to ”natural efficiencies” rather than a concerted cost-cutting effort, and that its staff numbers have since grown anew.

Client confidence

Just as important is communicating a new consolidation to clients. A spokesperson for AKQA, which merged with Grey last year, tells The Drum: ”The key focus areas are our clients and employees. This is also in line with key decisions around communications and operations.

”Clients were consulted early in the process to gain their feedback and highlight the additional benefits of the businesses working more closely together.”

For Beattie, ”the important thing is: what does it mean for them? What are the benefits each client is going to get from the merger? Or is absolutely nothing going to change?”

Cook explains: ”It’s critical to reach a certain amount of your client base before it happens, so they have some trust, a heads-up and a feeling of ownership about the decision.”

He emphasizes the need ”to communicate clearly what you’re doing and why you’re doing it… to communicate that nothing of the goodness of your relationship will change or go away. And to communicate the new value of the bigger company.”

”Once those assurances are in place,” says Cook, ”client partners become start to become very interested in what new capability you have that can help them move their brand forward.”

Name games

When it comes to unveiling the new combined agency, language is important. A consolidated agency’s name can broadcast continuity – as in the case of double-barrelled monikers such as Wunderman Thompson – or a new start, as in the case of Superunion, which was formed from five older branding shops.

While VMLY&R’s acronym doesn’t quite roll off the tongue, Cook argues it was important to keep the identities of its constituent parts intact. ”We have a lot of letters. I’m the first one to make fun of our long name… but in exchange, you’re not losing the heritage of either of these two brands.

”There’s no way we wanted any part of the company to feel marginalized or lesser. It was too bad we didn’t merge with a company with some vowels, because we could have made a word out of it.”

Similarly at MBAstack, Maher says the name was settled after a collective decision to retain both brands. ”We felt it was the right thing for the market. And it sounds a bit better, with MBA first and Stack second.”

For Dentsu agency iProspect, which recently relaunched after absorbing Vizeum, a new handle wasn’t deemed necessary. Amanda Morrissey, global president of iProspect, explains: ”The reason for this is two-fold… firstly, and most crucially, we wanted to spend more of our time and energy on building solutions for our clients than building our own agency brand.

”Secondly, the iProspect brand name already has a huge global footprint and is universally synonymous with digital excellence that has performance at the centre. We therefore felt that keeping the name was the right thing to do, as so much of the brand notoriety is already in place.”

Culture clashes

Definitions of a successful merger also differ. For AKQA, it’s simple enough: ”Success of the collaboration is measured by the recognized increased opportunity for both our clients and employees.” Elsewhere, success isn’t so closely tied to balance sheets. Much of the post-merger work focuses on making sure the working cultures of each agency still exist in a meaningful way.

Maher admits it’s ”a journey not a destination,” and says MBAstack will likely take six months to knit together. The business has a new website in the works, and both the Stack and MBA teams will soon be moving to MSQ’s new offices in Covent Garden when lockdown subsides. ”It’s a work in progress. We’re going to keep evolving,” he says.

Roope says that the benefits of Poke’s sale to Publicis only were only illuminated when its team reluctantly moved from its Shoreditch base to bigger premises across London. ”It was only really when we stepped into the building that network started to pay… because we were much more integrated,” he says.

True success came, he says, when Poke began to influence the rest of Publicis’ operations. ”We brought fresh thinking, a different perspective when at the time it was a monoculture that was absolutely above-the-line. We weren’t the only catalyst in that, but it reinvigorated the London side of the network,” he says.

While merging two global giants together is a complex endeavour, Cook says he was confident of success just two months in. ”We gathered 200 of our top leaders to [VML headquarters] Kansas City, from all over the world. And you could just feel a sense of unity, a sense of pride. We knew this was going to work.” By the time the team touched down at Cannes the following summer, things were coming together and business had picked up, with a 14% increase in billings in the UK.

”Walking into Cannes, we already felt we had a swagger. We were getting recognition for the work for our clients that this new company had done… that was a good message that we’re doing what a great agency is supposed to do, and that’s great work.”

A month after from her business’ rebirth as John Doe Group, Beattie doesn’t yet have the privilege of hindsight. The teams of each agency were already well acquainted, with the merger built upon an existing relationship; the two businesses already shared client work. Having avoided a direct culture clash, she’s confident the consolidation has already begun to yield results and achieve their major goal – puncturing the London bubble.

”It’s definitely already working. We’ve just won our first new account. We’ve done more pitching in the last couple of months than I did in over the whole of last year.”

By

Sourced from The Drum

By Jon Williams

The Liberty Guild’s chief executive responds to Campaign’s analysis on the health of creative agencies.

I read Campaign‘s article about the fallout from WPP’s capital markets day. I’m not sure it’s entirely fair of WPP’s chief executive, Mark Read, to lay the “didn’t reinvent quickly enough” thing at the feet of the creative shops.

It’s clearly true, but as I remember it (as an EMEA chief creative officer of a WPP network), the barrier to reinvention was also the fact that WPP would never sign off any margin relief to do anything. That and the institutional immune system in agencies that tries to attack anything acting differently or entrepreneurially. Anyway. Financial performance has been in decline for years. On that, we agree.

Further down the piece, someone was talking about a supposed “shortage of talent” to capitalise on growth opportunities. We can argue the toss about whether or not there is a shortage in agencies. But in the market there is absolutely no shortage of talent. It’s just that agencies are looking in the wrong place. And if they should happen to find it, they are just not set up to work with the growing global pool of A-list “independent” creatives, strategists, technologists and entrepreneurs that are the key to growth.

There is an incredibly talented crew out there for whom the agency Kool-Aid has curdled. All ages, all genders, all over the world, don’t understand why they need to work all the hours god sends and have zero work/life balance when there is an alternative. There is an exodus to the portfolio career. Some have private clients, some work with a number of agencies, some work directly with brands, some are entrepreneurs, some have personal projects. They flourish.

On the whole, they haven’t been forced to work from the kitchen table by a global pandemic: they made the explicit choice to jump off the burning platform and find sanctuary.

You can find them in the north of Scotland, on the west coast of France, a beach in Indonesia, Crouch End, Goa, Wherever. Technology allows the creative diaspora to go wherever it damn well wants to, in a way that couldn’t happen just five years ago. Technology has changed the game for good. And the pandemic has only expedited this process.

But here’s the rub. As I was leaving my big old network job, I excitedly explained my start-up idea to a European chief creative officer. A mate. Someone I rated.

He raised his eyebrows and said: “Wow, so you’re going to do that with freelancers?” He sort of spat that last word and at the same time left it hanging in the air. That’s the issue there. What is it with the pejorative use of that word?

In a more chivalrous time, when knights wore shining armour and rode white horses, the Free Lances were the elite. A warrior class for hire. Tied to no one. Not your poor plodding foot soldier. Not pawns on the battlefield for a top-down feudal system (bit too obvious for a network analogy?) – but the best and most skilful crew money could buy.

By Jon Williams

Jon Williams is chief executive of The Liberty Guild and the former chief creative officer at Grey Group EMEA.

Sourced from Campaign

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Anyone working within programmatic advertising is likely to hear the phrase ‘curated marketplace’ a lot in 2021 – but what does ‘curation’ really mean in this context and why should it be a key priority for media buyers over the next 12 months?

Michael Simpkins, Marketplace Commercial Lead at Xandr explains, as the programmatic landscape has become increasingly cluttered and complex over the past decade, many people now assume that media buyers operating their own ‘curated marketplace’ are simply looking to work with fewer partners in the advertising supply chain. However, this is only the first step and barely scratches the surface of how curation can help improve the effectiveness of a media strategy.

Going back to basics

With the rapid growth of the programmatic industry, the supply chain became fragmented, resulting in a loss of control and transparency for both buyers and sellers. Buyers are also facing increasing pressure to justify return on ad spend, but siloed spending, rigid metrics and a convoluted supply chain make it hard to prove marketing impact on business outcomes.

As a collective, the industry has matured in the past few years to take a step back and simplify the complex landscape. Direct relationships between buyers and sellers are being rebuilt and big steps are being taken to improve supply chain transparency. Marketers, now more understanding of the supply chain, are seeking to regain control not just over their ad spend but over their campaign performance too and, with the deprecation of the third-party cookie, these objectives take on even greater importance. On the other hand, with the proliferation of header bidding, publishers want to make sure their most important media buyers are still able to reach and value their inventory effectively. It is important for companies to deliver unique value across the advertising ecosystem from consumers, buyers and sellers. One of the ways we at Xandr are able to do this is through our curation offering, which brings buyers and sellers together on our platform, offering buyers a simplified and dedicated workflow to easily build out their own curated marketplaces from the supply available on our premium advertising marketplace.

Regaining control of the supply chain

By building out a curated marketplace, buyers gain control within the SSP (sell-side platform) and can apply macro business rules to supply before it hits the DSP (demand-side platform) for targeting, significantly reducing risk in a diverse supply chain.

Through curation, buyers are able to maximise their investment by having full control over supply decisioning and ensuring all media is run across brand safe environments and eliminating non-essential pass throughs in the supply chain. Costs can also be reduced as buyers streamline supply sources, campaign workflows and operational complexity while also having the ability to negotiate price and priority within publishers. Buyers are able to receive regular reports on supply-side fees and auction dynamics, strengthening cross-industry relationships and supporting our industry’s quest for supply chain transparency.

As collaboration becomes even more important in 2021 and beyond, curating a marketplace on a single platform can reduce the risk even further. With fewer partners you’re able to work together on market and regulatory changes, niche audience targets and specific campaign needs together.

What is curation?

Today, we are used to a two-party transaction with a buyer using a DSP to purchase inventory and a seller using an SSP to surface their inventory to the buy side. Curation moves us to a three-party transaction where we now have a curator that sits between the SSP and DSP and works alongside the publishers to decide what inventory is allowed into their marketplace and then packages and merchandises that inventory via a curated multi-seller private marketplace (PMP) to make it available to the buy side to trade in their DSP.

Creating your own curated marketplace does not have to be a huge undertaking – in fact, it involves just four key steps:

  • Identify what you want to get out of the curated marketplace. Is it fee and auction dynamic transparency? More control on your supply paths? Performance gains? Setting a clear objective and strategy for the curated marketplace will make the process clearer for all parties involved.
  • Establish who you want to partner with to build out the curated marketplace. Pick a technology partner that has the supply coverage, tools, expertise and service models to implement a successful curated marketplace.
  • Work with your technology partner to understand what supply to bring into your marketplace and how to work with the publishers to do so. A curated marketplace should bring buyers and publishers closer together, not act as a blocker.
  • Optimise your curated marketplace. These marketplaces shouldn’t be static and should constantly be optimised based on performance, market changes and pricing.

As consumers continue to access media content across numerous devices, their attention becomes increasingly difficult to capture and hold. To catch their audience wherever they are viewing content means marketers are having to reconsider their strategies for planning, buying and measuring advertisers. We have to introduce an option for those who want to buy advertising and access to consumers on all devices and formats in one place, and that option is curation.

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Sourced from The Drum

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Google My Business is the home of your local online presence and the information hub for potential customers in your area. In this article, we fire through all the key steps of completing and optimising your profile to bring more customers to your business – both online and in store.

Make your NAP & business info 100% accurate

Accurate business information, especially your name, address and phone number (NAP), is one of the strongest signals in local search. So make sure your details are 100% accurate on your Google My Business page and that they match the business information you have listed on your website and third-party sites (directories, review sites, etc).

There are four pieces of basic business information that you need to specify right away:

  • Your business name
  • Your business category
  • Your business address
  • Your service area

You will have chosen a business category when you created or claimed your business in GMB but you can now add further categories to help Google show your listing to relevant searches with greater accuracy.

Provide opening times to encourage store visits

People searching for businesses in their local area might be looking for takeaways open late on a Sunday, shops that are still open on their way back from work or stores where they can look at a product before actually buying it. This means having accurate opening times on your GMB listings can win you customers.

Google My Business encourages you to add opening times to your listing and you absolutely should. Make sure you accurately fill these out and keep them up-to-date so people can always trust the information on your profile.

Capture web and phone leads from GMB

You can track phone calls from Google My Business by using a phone tracking service and entering your tracking code as your primary phone number.

Bonus tip: add your real phone number as an additional number and make sure it matches with the number you’ve got listed elsewhere (area code is important) to show Google that this is, in fact, your business number.

You can also track website visits from GMB by creating a UTM (Urchin tracking module) using Google Analytics Dev Tools.

Once you’re done, simply copy the URL and paste it into the website section of your Google My Business page.

Add products to your GMB profile

If you sell products online or in-store, you can add them to your Google My Business profile to drive in-store visits and clicks through to your website.

You need to name each product and select or create a new product category. You have the option of showing prices or price ranges for each product and you can add a product description, as well as an optional call-to-action button.

Make your business stand out with attributes

Attributes help users choose the ideal business for their needs and also increase the quality of leads you generate from Google My Business.

You can specify that your business has on-site parking or free wifi, for example, or show which Covid-19 measures you’re taking, such as staff wearing masks. You can also list services you provide, like free delivery, takeaways, in-store pickups and other options that could win the customer.

Optimise your business description?

Your business description is one of the few places in your GMB profile where you get to explain what makes your business unique. You get 750 characters to tell people why they should step through your door or buy from you over the other alternatives in the local area (if there are any).

The more competition you face, the more important your description could prove to be. Make sure you’re honest and try to focus on the characteristics of your business that appeal to your target customers.

You can find out what not to include in your business description on this Google My Business Help page.

Show the best of your business with quality photos

Google My Business allows you to upload images of your business and this is one of the most underutilised tools in GMB. These images, quite literally, shape the mental image users build about your business and you want to make sure these photos create the right impression.

Get yourself a professional photographer and upload high-quality images of the following:

  • Your business logo (this shows when you post a photo or reply to reviews, questions, etc)
  • Your GMB cover photo
  • Your exterior building
  • The interior of your business
  • Products/services
  • Covid-19 measures
  • Images showing the attributes in your profile

You can also upload videos to Google My Business so think hard about the kind of message you want to put across, such as your company’s history or a compilation of video reviews from a selection of happy customers. For more tips on optimising your Google My Business page, check out this video.

By

SEO specialist at Vertical Leap

Sourced from The Drum

By .

Nothing beats the thrill of watching live sporting events unfold. Those impossible acts, the surprise results and glorious victories – there is nothing else like it. Sport is emotional, it is engaging and it has the power to unify.

There is a huge global appetite for sport and, after the Covid-19 pandemic forced many spectator sports to shut down for much of 2020, fans became hungrier than ever for the excitement of live events.

While many rescheduled tent-pole sports events are due to take place over 2021, all eyes will be on the Tokyo Summer Olympics, set to launch on 23 July. Although organisers are working tirelessly to ensure the Games go ahead, there is still a real possibility that fans will be unable to attend in person.

For brands, this presents the challenge of connecting with fans without them being physically in the stadium. However, it also creates new opportunities for brands to engage fans at home and enhance their mobile and digital experience.

Without a doubt, it will be a different experience for sports fans, but new viewing patterns and behaviours were already evolving. Live sports broadcasting is being disrupted by digital devices and online platforms, meaning it is no longer a linear TV experience.

This change was already apparent in the viewing figures for the 2016 Summer Games in Rio de Janeiro, where 3.2 billion people watched on a combination of TV and digital devices. Today, according to the research firm GlobalWebIndex’s (GWI) data from Q3 2020, 54% of global sports fans watch coverage or highlights online.

Digital viewing for the Olympics Games has been soaring since Beijing in 2008. According to e-Marketer’s Sports OTT Landscape report from January 2019, it was expected to hit new heights in 2020 with video views predicted to top 3.5bn. TV views were projected at around the 3bn mark.

Fans are also taking their conversations online as highlighted by GWI (Q3 2020) showing that two-thirds of sports fan use social media while watching TV. With duel-screening now almost universal, brands should note that mobile sports consumption is increasing multi-faceted. According to Facebook data, there are 700 million sports fans on Facebook and 400 million fans on Instagram.

The 2016 Summer Games in Rio also demonstrated how the behaviour of sports fans is changing. Facebook saw 1.5bn interactions during the games from 277 million unique users, while Instagram registered 916m interactions from 131 million unique users. The last Football World Cup generated 5.3bn interactions.

More than half of viewers are also chatting with friends via platforms such as WhatsApp sharing key sporting moments, while a third is reading the news, playing games or searching for products related to what they are watching. What does this mean for marketers, particularly sponsors?

Sports sponsorship has long been big business for brands, offering a vast, often international, reach, and a culturally relevant audience. According to the research and data company Kantar, sports sponsorship will account for 10% of all global advertising spend in 2021, hitting nearly $50bn.

Tracking the performance of those campaigns and measuring success has always proved tricky for brands. At the same time, sponsorship properties have often only been available on long-term contracts. It is no surprise then that Kantar research also found that 44% of marketers believe sponsorship is the least understood media channel in terms of return on investment.

However, digital and online platforms, such as Facebook and Instagram, are turning the sponsorship model on its head. The opportunities for bespoke content and agile and trackable campaigns allow brands to target their campaigns more accurately and assess their success more quickly.

Andy Childs of Facebook’s Central Europe Connection Planning unit explains: “Sports sponsorship is in transition, with brands all vying for consumer share of mind and share of wallet. With our platform and analytics, Facebook and Instagram offer brands a unique opportunity to grow – to reach mass audiences, enhance the fan experience, trigger relevant purchases and importantly measure the business impact of sport sponsorship.“

It means not only are brands seeking shorter, more targeted sponsorship opportunities than are the market norm, but there are more ways for non-sponsoring brands to get involved in tent-pole sporting events.

With more opportunities for brands to get involved in the 2021 Summer Games, the need for creative campaigns that cut through the noise will be more critical than ever. To do this, marketers should consider these creative thought starters:

Amplify brand association

A brand should develop a meaningful link with its chosen sports event among its audience, and cut through the clutter by demonstrating its interest and reason for getting involved with the sport. Where fans are aware of the link between sponsor and property, there is a 30% uplift in commercial effects compared to where fans are unaware of the correct linkage.*

It is vital to identify a different emotional space to other sponsors, particularly close competitors, while also targeting a broad audience with content such as snackable video. Use in-stream advertising to build a stronger association.

Enhance the fan experience

To reinforce the connection between the brand and the event, offer fans something exclusive or innovative that enriches and deepens that emotional connection. Where fans are aware of the linkage and further believe that there is benefit to the property and to the fan experience (arising from the sponsorship), there is a 71% uplift in commercial effects.*

Meanwhile, offer fans a 24/7 experience through branded content and increase relevance through contextual and geo-targeting. Sponsors can also seek to augment and gamify sports consumption.

Trigger consumption opportunities

The third way to grow with sports is through sales – generating a commercial return is the most important overall objective for sponsors or non-sponsors alike. The best way is to Integrate a brand’s product or service into the fabric or experience of the event. By focusing on products connected to an event that are a natural fit or can be enjoyed during the event. Campaigns should promote relevant products or services at relevant moments, including athlete participation, home matches or weather triggers. This strategy will help improve understanding of sports event ROI.

The whole sports community from the fans and sportspeople, athletes and teams through to leagues and associations, media and influencers to advertisers and brands have all embraced this brave new world of sports. It is an evolution that has the potential to enrich the experience for everyone.

Even when fans are allowed to return to live sports events, online platforms and brands will continue to enhance and build on that experience. The potential, the reach and the creativity that online platforms can offer are only beginning to be realised.

* Professor Tony Meenaghan, Jamie Macken and Mark Nolan, Core Ireland, 2018

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Google and Facebook colluded to undermine competition in advertising, according to documents uncovered by the New York Times. Obtained during an antitrust lawsuit in Texas, the documents lift the lid on ‘Jedi Blue’ – a cloak and dagger sweetheart deal between two tech giants that monopolize online advertising.

So what’s the deal?

  • Google and Facebook are accused of abusing their market position to strike a backroom deal to further their business interests.
  • The agreement is said to have seen Facebook win more favorable terms when bidding for advertising in return for its support for Google’s Open Bidding platform for selling adverts over header bidding – where advertising space is auctioned across multiple ad exchanges.
  • Google has long agitated against this method of buying advertising, maintaining that it slows down web pages and causes batteries to drain faster, as well as elevating the risk for fraud and billing errors.
  • As a result, Facebook gained more time to bid for adverts and was able to strike direct billing deals with sites hosting the ads. The underhand arrangement is also said to have seen Google furnish its rival with its data to enable Facebook to better target audiences.
  • In a quid pro quo, Facebook consented to bid on a minimum of 90% of ad auctions when it could identify users, with a pledge to spend at least $500m a year.
  • Such terms handed Facebook an unfair advantage over Google’s other advertising partners according to the New York Times, which spoke with six of these to help build its case. This meant Facebook was almost guaranteed to win a consistent number of adverts.
  • Evidence of collusion was first obtained from documents filed as part of an antitrust complaint lodged by the Texas attorney general Ken Paxton, amid suspicion the tech pair were getting too cozy.
  • This relationship even included a clause that committed both companies to ’cooperate and assist’ in the event of any investigation into their business practices.

Why it matters

  • Should apparent collusion be corroborated it would further undermine confidence in digital advertising – particularly if a guaranteed win rate is confirmed.
  • In response to the allegations, Google contends that its agreement has been misrepresented, while Facebook maintains that such deals serve to enhance competition.
  • Irrespective of the truth of the matter, the lack of transparency shown by both parties will do little to instill confidence in competitors or legislators.
  • Addressing the claims directly, Google director of economic policy Adam Cohen wrote: “Our agreement with Facebook Audience Network (FAN) simply enables them (and the advertisers they represent) to participate in Open Bidding.
  • “Of course we want FAN to participate because the whole goal of Open Bidding is to work with a range of ad networks and exchanges to increase demand for publishers’ ad space, which helps those publishers earn more revenue.
  • “AG Paxton inaccurately claims that we manipulate the Open Bidding auction in FAN’s favor. We absolutely don’t. FAN must make the highest bid to win a given impression. If another eligible network or exchange bids higher, they win the auction.
  • “FAN’s participation in Open Bidding doesn’t prevent Facebook from participating in header bidding or any other similar system. In fact, FAN participates in several similar auctions on rival platforms.”
  • Both Google and Facebook have been in the eye of an antitrust storm, with Google fending off multiple lawsuits from the Department of Justice and three dozen states centered on its near-monopoly of search and search advertising, as well non-search advertising.
  • Facebook, meanwhile, has been embroiled in lawsuits filed by the Federal Trade Commission as well as attorney generals from dozens of states that accuse the company of abusing its command of the digital marketplace and engaging in anti-competitive behavior.

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Social media has been a key marketing channel since its conception and has increasingly played a role in how people shop. But up until now, shopping behaviour was limited to discovery and consideration, with purchase taking place off-platform on a brand or retailer website.

Today, social platforms look poised to ’close the loop’, meaning users will be able to browse, shop and purchase seamlessly and entirely within one connected social media experience. This development has the potential to fundamentally transform the way we buy online.

Welcome to the future of ‘social commerce’.

To better understand shopper behaviours, attitudes and beliefs in this space, we polled a nationally representative audience of UK shoppers, discovering that nearly two-in-three people would be more likely to purchase from a brand if they could browse and shop entirely within a social media platform.

From this, the evidence is clear: the winners of tomorrow will be the brands that embrace social commerce as a real tool for customer acquisition and retention. For those that fail to act, loss of market share could become a tangible concern. In a social world, learning how to navigate these waters is no longer just a ‘nice to have’.

The rise of social commerce

According to the latest research, social commerce is a market with a remarkable growth trajectory, with analysts projecting it could be worth $600bn in the next seven years.

As we’ve seen in the past year, Covid-19 has accelerated existing trends in shopper behaviour. The latest figures suggest an extra £5.3bn will be spent via e-commerce in the UK alone in 2020 as the fallout from the pandemic has forced more people online than ever before. Early figures suggest this behaviour is set to stay as we emerge from the pandemic.

Although shoppers are flocking online, social commerce is still a fairly nascent market in the UK and US. In fact, studies suggest that only 6% of UK consumers have purchased directly on a social platform, in part due to the lack of in-platform purchasing options in these markets.

In more advanced countries like China, however, social commerce is an integral part of the online shopping experience. Tencent’s WeChat delivered $115bn in social commerce sales in 2019 alone, while Pinduoduo, a group-buying app where friends can purchase together on social media, has grown from an innovative startup to China’s second most valuable online retailer.

As US platforms look to replicate some of this functionality, China provides us with a model of how social will likely evolve for commerce in the west.

Shopper thinking will be crucial to navigate social commerce

Today, brands have more opportunities to interact with people than ever, across an increasing number of digital touchpoints. Digital and social platforms have succeeded at meeting new customer expectations, with values such as convenience, ease of use, customisation and control redefining the shopping experience.

It’s not surprising, then, that social media is uniquely positioned to deliver on these needs. Based on our research, however, social will remain a nuanced and highly intricate channel. Careful consideration of different shopper motivations and barriers, as well as brand experience across the shopper journey, will be key to maximising shoppability across brands’ social media channels.

Consumer behaviour in this channel is anything but homogenous; in fact, our research suggests adoption of social commerce will differ by age. Being able to buy within platform would encourage 75% of 21- to 34-year-olds to purchase with a brand, suggesting that demographic differences will necessitate careful persona planning.

Price also seems to be a determining factor in whether or not someone would purchase on social, with our research suggesting that big-ticket items such as travel and luxury are much less popular than more affordable items.

Different categories also differ in their appeal, with respondents ranking fashion, beauty, wellbeing and grocery as the categories they would most like to shop for on social.

Taken as a whole, these findings are representative of a shift towards social media as a new and growing e-commerce channel, but they also demonstrate a need for smart planning. For brands, understanding where, when and how to activate a social commerce strategy as part of a connected shopper experience will be key as we move into 2021.

Social platforms at different levels of readiness

Another consideration is that the platforms themselves are at different levels of ‘readiness’ when it comes to social commerce.

Instagram, for example, has beta-tested its Checkout feature, which allows users to search and shop directly within the app. The mass rollout of this feature will transform how people shop with brands online, making it more convenient to shop not only directly from a brand’s posts, but from influencer posts too. These platform changes will make the social shopping experience on Instagram feel effortless and seamless – all the way from discovery to purchase.

The rollout of Shops across Facebook, meanwhile, allows brands to create digital storefronts, with links to purchase products either on the retailer’s website or directly within Facebook itself.

Even YouTube and TikTok are experimenting with social commerce. YouTube Shopping allows customers to make purchases directly on-site by browsing through catalogues offered by sellers, while TikTok’s partnership with Shopify allows merchants to create and show shoppable content on the platform.

Even before these functionality considerations, each platform lends itself differently to the shopping experience and users’ openness to brand advertising. Instagram, for example, feels like a natural fit for commerce as its highly visual nature emulates a glossy magazine, where products feel native and premium.

This was validated in our research findings, which showed nearly half of all shoppers (45%) would prefer to shop on Instagram, with Facebook (41%) coming in a close second.

These two platforms appear, at the moment, to be far ahead in terms of delivering on shopper expectations, with YouTube (9%) and TikTok (5%) capturing a much smaller percentage of shopper interest.

The sophisticated targeting options available to brands through Facebook Advertising (which includes Instagram) and Google (YouTube) also present opportunities for personalisation and disruption along the shopper journey.

Moreover, social commerce is a particularly exciting development for brands that sell exclusively through retailers, since it presents an opportunity to provide shoppers with a more personalised experience (in lieu of a true direct-to-consumer offering).

We spoke with Joseph Harper, e-commerce marketing manager at Kellogg Company, who notes: “The way people shop in the future will be totally different – it will be completely interactive and personalised.

“We know that retailers are starting to see themselves as media platforms and media platforms are starting to see themselves as retailers. That, in essence, is the crux of social commerce.”

Creating a connected experience for consumers

For a marketing channel with considerable upside, social commerce looks set to have a significant impact on the way shoppers discover, browse and buy. E-commerce has already lowered the barriers to entry, enabling new digital startups to burst on to the scene while forcing legacy brands to rethink existing strategies.

Social looks set to do the same again, challenging traditional brand and retailer relationships and ways of marketing to consumers.

But for the forward-thinking brand, success will come from more than just taking advantage of new platform innovations. Brands need to build connected experiences across all touchpoints that deliver on the values of a new generation of shoppers.

Whether researching on Amazon, being inspired on Instagram, watching adverts on TV or unpacking an order at home, there’s an ever-expanding ecosystem of places shoppers can engage with brands.

Marketers need to focus on optimising the customer journey and include social commerce as a key touchpoint in this. In doing so, brands can take one step closer to delivering a truly connected omnichannel experience.

Feature Image Credit: Initials advise marketers to better optimise the customer journey using social commerce

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Josh Tilley, senior strategist at Initials.

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A pronounced pivot toward e-commerce and video has seen global ad spend bottom out quicker than expected, with forecast falls now expected hit the floor with a 7.5% contraction to $587bn in 2020 – as opposed to a 9.1% fall as initially feared.According to Zenith’s Advertising Expenditure Forecasts, the advertising sector is proving to be more resilient than expected and is now expected to bounce back by 5.6% next year to reach $620bn.No mere dead cat bounce the rise is given credence by a surge in connected TV advertising as well as the delayed Summer Olympics and UEFA tournament.

How is global ad spend holding up?

  • Zenith’s metrics show that 2021 growth of 5.6% will be fractionally behind the 5.8% uptick it forecast back in July, falling short of the $634bn spent in 2019.
  • A recovery to pre-crisis spending is not expected until 2022, when a further 5.2% growth will see spending total $652bn.
  • All these forecasts are couched under the proviso that there will be no further black swan events to snuff out the tentative recovery.
  • What factors lie behind the improving outlook?
  • A universal shift in advertising budgets towards digital channels is providing a much-needed source of growth, with global digital ad spend expected to rise 1.4% in 2020, equivalent to a 52% share of total ad spend.
  • An explosion in e-commerce growth is not expected to tail off either, with Zenith confidently predicting that digital will account for 58% of all spend by 2023.
  • Another bright spot lies in connected TV’s as people flock to streaming video-on-demand (SVOD) providers such as Netflix and Disney+, whose reach has expanded by 5% in the US as people switch off from the world outside.
  • While advertisers are locked out of SVOD, ad-funded video on demand has enjoyed the strongest growth of all, jumping 9% to reach 5.5m US households.
  • Commenting on the findings Christian Lee, global managing director at Zenith, said: “Now that it offers mass reach in key markets, it’s the right time for brands to invest in connected TV.
  • ”Brands should use connected TV for both branding and performance, exploiting its high ad recall and full targeting and tracking capabilities to drive awareness and sales conversions at the same time.”

How is e-commerce shaking up ad spend?

  • A revolution in retail is feeding through to unprecedented demand for retailer media which promote products at the point of purchase, akin to in-store displays of old.
  • Crucially retailer media is allocated from commercial rather than marketing budgets, thus expanding ad expenditure as a whole. In all, Zenith anticipates the sector will jump from $35bn spend in 2019 to $51bn in 2020.
  • Ali Nehme, global chief commerce officer at Publicis Groupe, said: “Retail platforms are powering their growth by putting pressure on brand margins. Their focus on bottom out price wars, and enhanced consumer experiences, benefit consumers while brands bear the cost.
  • “In this scenario, brands must flex their power, by selecting retailer partners who offer demonstrable value through transparent data and measurement, as well as the ability to deliver the consumers who will drive much-needed category growth.”
  • A global jump in social media ad spend of 56.4% in the third quarter has also provided a timely boost.

Are there any regional variations in performance?

  • The global picture in the report masks significant regional variations with Asia Pacific, Central and Eastern Europe expected to lead the way in terms of growth, attaining 2019 levels of ad spend as early as 2021.
  • Zenith expects ad spend in both regions to shrink by 6% in 2020 and grow by 7% in 2021.
  • Elsewhere North America is expected to prove more resilient than most, declining by just 5.3% in 2020 courtesy of a spending boost driven by the presidential election.

Feature Image Credit: A pivot toward e-commerce and video has seen global ad spend swiftly fall, according to new forecasts

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