From day one, we worked closely with the band to grow a truly ferocious and engaged online audience across the band’s core social media accounts. Through careful monitoring and repurposing of reactive content we applied a forensic, always-on paid acquisition strategy to grow a meaningful audience who connected with the music.
We deepened this funnel with multiple incentives for email acquisition, resulting in an explosive CRM strategy which created commercial peaks throughout campaign milestones.
We also nurtured a smaller list of WhatsApp ‘super fans’, creating a very real, instant connection with the band, further driving campaign benchmarks at each stage.
Our carefully planned D2C offering for the album saw over 17 unique formats of the album including a fourcassette bundle and bespoke four-CD bundle which aligned to create an alternative version of the album sleeve. We leveraged the live demand with unique Fan Pass bundles allowing fans first access to the UK tour along with additional exclusive perks and content.
We applied a content-first strategy throughout the album campaign, breaking the mould with unique milestone moments. This included the stunning lo-fi Official Video for ‘Somebody Loves You’. In a completely genuine and heartfelt move, the band informed Parlophone that they would like to donate the video budget for the track to the Scottish Refugee Charity. They then asked a handful of individuals who had worked with the charity to film how the song made them feel. The resulting video was filmed entirely on mobile phones and displays the raw, feel good, passionate mantra which the band so naturally embody.
The band also recorded a breathtaking livestream from an empty iconic Sterling Castle. Access was granted to Live Pass bundle purchasers which was timed around the launch of the bespoke fourCD format. The eerie yet mesmerising performance stood as true testament to the band’s incredible musicianship and dedication to their craft.
On the lighter side of the spectrum, we also shot a 12 Days Of Christmas series around the festive period. The tongue-in-cheek angle which saw the boys take on a series of challenges including Making Mince Pies and Telling Christmas Cracker Jokes, showcasing the hilarious and unique rapport the band share.
During lockdown we also challenged the band to embrace new platforms including TikTok and Instagram reels. The Snuts once again triumphed over adversity delivering some of their best performing content remotely, which included a menagerie of incredible lo-fi covers which the fanbase and new fans alike instantly gravitated towards.
Following a tense chart battle with Demi Lovato, The Snuts became the first Scottish band to achieve a UK #1 for 14 years with their debut album W.L. –selling over 20,000 units week 1. Our-ever evolving D2C proposition ensured an impressive 8K pre-order base and act as a sturdy base to continue to drive that number throughout the chart week.
We also saw that #1 figure emerge in the UK Vinyl Chart, Trending Chart, Twitter Trending Chart and iTunes chart throughout the campaign.
This success translated to the reemergence of live shows, selling over 70,000 UK tickets to date.
Our dedication and commitment to meaningful audience growth saw Instagram followers, Facebook followers, Twitter followers, YouTube subscribers and mailing list subscribers all more than double to a combined reach of nearly a quarter of a million in the space of the album campaign. Our engagement metrics across each platform remained consistent with growth rivalling that of many of our peers.
The UK radio picture was also incredibly strong with A-List additions across BBC Radio 1, Kiss and Capital A-List. As a direct result, we peaked at #2 UK Shazam charts and #19 in the global Shazam chart – with over 1m Shazams to date.
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