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Our journo-friend Phil Gallo strikes again with a cool article about Linkin Park’s Marketing strategy:
A 38-second video posted May 26 on YouTube features Linkin Park’s Mike Shinoda congratulating the winner of a scavenger hunt that included clues on five continents, lasted 16 days and concluded at BBC Radio 1 during Zane Lowe’s show.
When the contest began – it was among the opening salvos for the band’s fifth studio album, “Living Things” – Linkin Park provided no details about prizes, duration of the contest or even what would be required of the participants. “They had very little information and to me that’s what made it fun,” Shinoda says. The prize, given to a London-based administrator of Linkin Park fan site LPassociation.com, was a USB port with the new LP track “Lies Greed Misery” that the winner was allowed to leak, complete with the victor’s name attached to the file. The contest targeted hardcore fans prior to mass-market campaigns and did so by engaging them online globally and physically where enthusiasm for Linkin Park is most fervid – Australia, Tokyo, Toronto, Chicago, Rio de Janeiro. It also turned upside down the issue of piracy. That final piece in the puzzle is what Linkin Park prides itself on.
“I basically came up with the pot of gold at the end,” says Shinoda, who co-produced “Living Things” with Rick Rubin, an encore of their united effort on the last Linkin Park album, 2010’s “A Thousand Suns.” “The team and I brainstormed where it ended – they ran with the meat of it in the middle. That requires a lot of legwork from people on the ground in each of these countries. Basically, we’re going to do something for every fan who was involved in this thing – anyone who found a clue, anyone who translated anything – we’re going to give them merchandise or tickets. The funniest part about it is we started it off in a low-key way” – Twitter feeds, mostly – “and let it build organically.”
Launching the fifth Linkin Park studio album has found the band striking early and often on promotional battlefields, aligning with numerous sports, gaming and entertainment companies to position their new music in areas where fans are likely congregating. By the time the release date rolls around (June 26), new music from the band will have been associated with the NBA, Lotus’ Formula 1 racing team, the Euro Cup soccer tournament, Honda Civic, Deutsche Telekom and videogames with a major film tie-in on tap for the fall. Spotify launched its largest campaign with a band in the United States to date, releasing four playlists of Linkin Park live recordings weekly in the month leading up the album’s release.
Even with an astounding presence online – more than 42 million Facebook users have clicked “like” on the band’s page and at least three of its videos have each been viewed more than 70 million times on YouTube – Linkin Park’s approach to marketing is as aggressive as its music. For the best marketing and seo related strategies, people can check out https://kurtuhlir.com/what-is-enterprise-seo/ this link and get the best ones possible.
“The momentum feels different,” says Warner Bros. Records senior VP of marketing Peter Standish, who has worked with the band since it signed with the label in the late ’90s. “The impact of social-media marketing has caught up to the band. One thing that separates them from other bands is they tend to be naturally involved – they get their hands in the dirt to bring these things off.
“They worked hard to get to a sweet spot by coming up with creative initiatives that are impactful,” Standish adds, “and the management has worked hard on tours, on sales, on campaigns that make sense. The key in it all is everybody executes. Still, we’re not high-fiving each other.”
Standish and the band’s manager at the Collective, Jordan Berliant, point to concert ticket presales as a sign of an initial, positive reaction to the first single, “Burn It Down.” Berliant says presale numbers are two and three times higher than on previous tours, with Los Angeles and Houston shows hitting new peaks for the band, “which speaks to their interactive marketing campaign. We’ve done a lot of direct-to-consumer and it’s gone exceptionally well.”
The members of Linkin Park, formed in the suburbs in the northwest reaches of Los Angeles County, pounded their way to the forefront of alternative rock with their 2000 debut, “Hybrid Theory,” which has sold nearly 10 million copies, according to Nielsen SoundScan, and remains the band’s biggest seller. Two of the album’s singles, “In the End” and “Crawling,” dominated alt-rock playlists in 2001. The former was the year-end No. 1 track at hometown rock station KROQ.
As alt-rock tastes changed, Linkin Park remained at the forefront of the alt-rock/rap/electronica world with three albums hitting No. 1 on the Billboard 200 – “Meteora” (2003), “Minutes to Midnight” (2007) and “A Thousand Suns” – and another reaching No. 2 (“Hybrid Theory”). While the band held its own on the charts, sales in 2010, of course, weren’t what they were even seven years earlier: “Meteora” has sold 5.9 million units while “A Thousand Suns” has yet to crack a million (850,000).
Shinoda has little issue with the sinking sales, preferring to point to recent albums as necessary steps in defining what Linkin Park is as a band.
“When we got to the end of the touring cycle on the second record, ‘Meteora,’ we felt like we needed to get away from that sound or else we were going to be doing it for the rest of our lives,” Shinoda says. “That would’ve driven us crazy. In fact, after that, every time I brought in a demo that sounded like the first two records, it sounded like we were being lazy. It’s much harder to write something completely new versus going back to the same bag of tricks.
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