CHAPTER ONE
INTRODUCTION
1.1 BACKGROUND OF THE STUDY
As both an attraction for visitors (Bernick & Boo, 2013; Lee, Charles, & Lee, 2012; Mayfield & Crompton, 1995; Roselyne, 2011) and as an aspect of everyday social life, the festival is a manifestation of the experience economy (Evans, 2009; Pegg & Patterson, 2010). Festivals stimulate attendees’ emotions, memories, fantasies, and the formation of multiple images (Ferdinand & Williams, 2013; Holbrook & Hirschman, 1982). They also include activities that are often formed by or gain funding to meet a variety of political and public policy functions (Dredge & Whitford, 2010; Whitford, 2009). They are intrinsically linked to society and its well-being (Ballantyne, Ballantyne, & Packer, 2014; Packer & Ballantyne, 2011). In thinking about society, we need to look to the future. As a multidisciplinary approach, futures studies are not only an exploratory activity, it is a base for ensuring appropriate strategy now and into the future. Put simply, futures studies can be used to ask big questions and to form responses to these questions. The speed of technological, economic, and social change and the way in which our lives interact with these changes requires deeper questioning. As Godet and Roubelat (1996) imply, “the faster you drive, the further your headlights must shine” (p. 165). A futures methodology therefore can heighten capacity for an individual or organization to anticipate change (Glenn, 2009). For the music festival to survive it is vital to assess current and future environments, that is, to deal not only with current issues such as restraints on funding, a decreasing number of volunteers (Lockstone & Smith, 2009), the desire by attendees for a novel experience, the impact of online access to music (Gibson & Connell, 2005; McCarthy, 2013), and the pressures of climate change on outside events (Mair, 2014), but also to consider the lesser known or unknown factors that may eventuate. Music festivals are the focus of this conceptual article, which asks how technology stimulates change in experience needs and how, through scenario planning or forms of future visioning (Birtchnell & Urry, 2013; van der Helm, 2009), festival management may be able to precipitate or drive experience needs. That is, a process by which technological advancements (science fact) allows observation of the way in which nonwork (play) activity is changing, trend analysis (consumer fact) allows observation of the way in which the future can be said to be manifest now, and science fiction (fictional representation) allows for a paradigmatic explanation of how such things could occur. These processes may then be used to form prototypes (approximations) for the future (Bell, Fletcher, Greenhill, Griffiths, & McLean, 2013; Graham, Callaghan, & Greenhill, 2013).
Millennials currently serve as one of the most attractive markets in the industry, with a purchasing power of up to $733 billion (Qader, 2013). Businesses are constantly striving to captivate this market, but fail if they lack authenticity in their brand marketing. Successful relationships between a brand and a consumer occur when a company takes the time to adapt their marketing efforts to the wants of this demographic. Specifically, 62% of millennials are choosing to spend their disposable income on experiences rather than materialistic items over the next year (Walker, 2017). This statistic highlights millennials’ value on experiences they can hold on to rather than meaningless advertisements. A perfect example of an event that is facilitating lasting experiences for millennials are music festivals. Music festivals repeatedly aim to surprise, satisfy, and entertain individuals who come to hear and watch the music played by their favorite artists. These multi-day festivals serve as a high-level opportunity for organizations to partner with sponsors and weave their marketing techniques into all facets of the event. “Music festivals are more than a destination for live music; they are a place for festivalgoers to make memories. By integrating a brand into the experience, you can also integrate a brand into festival-goers’ minds.” (Fromm, n.d) The millennial demographic is drawn to music events by experiential marketing efforts, as this type of marketing serves as a great pillar for the experience economy (Qader, 2013). However, experiential marketing is just one of the types of marketing techniques used by high level music events. The purpose of this study was to examine the role of digital strategy in revolutionizing music festival events in Lagos.
1.2 Problem of the study
The speed of technological, economic, and social change and the way in which our lives interact with these changes requires deeper questioning. As Godet and Roubelat (1996) imply, “the faster you drive, the further your headlights must shine” (p. 165). A futures methodology therefore can heighten capacity for an individual or organization to anticipate change (Glenn, 2009). For the music festival to survive it is vital to assess current and future environments, that is, to deal not only with current issues such as restraints on funding, a decreasing number of volunteers (Lockstone & Smith, 2009), the desire by attendees for a novel experience, the impact of online access to music (Gibson & Connell, 2005; McCarthy, 2013), and the pressures of climate change on outside events (Mair, 2014), but also to consider the lesser known or unknown factors that may eventuate.
1.3 Objectives of the study
The objective of the study is to evaluate the role of digital strategy in revolutionizing music festival events in Lagos. Following objectives include;
1. To ascertain the digital strategy techniques currently being utilized by the Music Festival organizers.
2. To ascertain how music festival events organization play a role in experiential marketing and overall experience of the attendees.
3. To ascertain the digital strategies and marketing platforms used by the festival’s sponsors.
4. To examine the types of live brand experiences implemented by the top sponsors into the festival.
5. To know how effective the festival’s sponsors are in their digital strategic/marketing efforts to millennials.
1.4 Research Questions
1. What digital strategy techniques are currently being utilized by the Music Festival organizers?
2. How does the music festival events organization play a role in experiential marketing and overall experience of the attendees?
3. What are the digital strategies and marketing platforms used by the festival’s sponsors?
4. What types of live brand experiences are implemented by the top sponsors into the festival?
5. How effective is the festival’s sponsors in their digital strategy/marketing efforts to millennials?
1.5 Research Hypothesis
Ho1: Digital strategies play a significant role in revolutionizing music festival events in Lagos.
1.6 Significance of the study
This study will encourage brands to continue to utilize digital and experiential marketing strategies as both are effective in capturing millennial consumers. This study will serve as an eye opener to music festival event sponsors to evolve their experiential marketing strategies to innovatively engage consumers through new experiences each year. Future research the topic will gather data through interviews, surveys, books, online platforms, etc. to achieve a more diverse and detailed study from a wide range of sources.
The study will proffer profound assistance to organizations to continue to improve their experiential marketing efforts by offering new and intriguing activities to attendees each year.
However, study will help the festival’s sponsors to boost their outreach and number of posts on their social media accounts before, during, and after the festival to press on their marketing efforts.
1.8 Scope of the study
The study will be limited to the role of digital strategy in revolutionizing music festival events in Lagos.
1.9 Limitations of the study
Financial constraint: Insufficient fund tends to impede the efficiency of the researcher in sourcing for the relevant materials, literature or information and in the process of data collection (internet, questionnaire and interview).
Attitudes of Respondents: The researcher encountered the major challenge from the respondents on their typical reluctant attitude to fill the questionnaire or grant interview. In some cases, some respondents expect to be paid for the use of their time and knowledge; if otherwise, they were very reluctant in giving the required information. Some hoard information in keeping with the oath of secrecy. In spite of repeated assurance of confidentiality most of them fear the loss of their job and some were too busy to grant interview and fill the questionnaires correctly.
Time constraint: The researcher will simultaneously engage in this study with other academic work. This consequently will cut down on the time devoted for the research work.
