2020
the biggest indie online music festival in Latin America
Latin American multiplatform digital live concert experience that assembled a line-up of 124 well-known artists that reached an audience of 57,000 spectators. — go to our Instagram
Project Type
Finished — UX & Visual Design, Branding, Marketing Strategy, Music A&R, Concert Production & Experience.
Company — Client
By: EÑE, Sofar Sounds & independent music managers and producers.
— Self Project
Overview
How did we turn Desde Tu Casa Fest from a lock-down living room music jam into one of Latin America's biggest online music festivals, assembling a line-up of 124 well-known artists that reached an audience of 57,000 spectators, growing its Instagram from 0 to 10,000 followers in 4 weeks? With everyday 13-hour shifts, a million phone calls great design and a bit (a lot) of luck. I led a multidisciplinary team of engineers, A&R executives, designers, and artists from 16 countries.
With my teammates at EÑE, we orchestrated existing digital tools to implement a cross-platform, fully virtual user experience that in proportion, improved on the results of similar festivals, with a higher audience migration rate, longer audience engagement time, and more shared audience growth of social media presence, resulting in a 47% audience increase compared to previous live shows. This was an allied project of the worldwide festival, Yo Me Quedo En Casa Fest, which millions
Role
Creative Director | UX Design | Visual Design | PR Strategy
Concert user experience, Brand identity, Marketing strategy, Advertising, Artist booking, Wireframing & flows, visual design, and market implementation.
Team
5 independent music agencies
Team of 5 creatives, 2 engineers, 3 designers, 12 A/R executives & 3 PR agents from 16 countries.
— Watch the after movie!
The results:
¿So what was the problem?
When the pandemic started the music industry ended. As simple as that, and with it, a lot of the collective joy that was left among the people that now had to stay locked in while facing death and sickness. So how did we brought back some of the hope and bliss that people needed, while giving a new life to music? And the response from the Spanish music festival Yo Me Quedo En Casa Festival was overwhelming. We knew that Latin America needed some of that joy, but the current streaming tools were limited or non-existent, and the costs of building a music festival were out of our reach at that moment.
STREAMING MUSIC CONCERTS WAS AN ALIEN EXPERIENCE
And what about the user’s needs?
There were 2 main users: the artists that were playing and the audience that was listening and watching. Both were unfamiliar with complex and expensive streaming tools, and delivering to each one of them was impossible. The users needed to watch and give their concerts and enjoy their music but wanted to do so on platforms that they already knew and dominated. They were not keen to pay any ticket for a virtual concert, but the artists couldn’t sustain playing for free all the time so they needed the right immaterial incentives to join forces, and as usual, relevance and popularity are the currency of the industry. How could we fulfill all these diverse needs?
Youtube had been the leading service for serious live streaming, but the advertising and UX cost of migrating a big audience from social media to here was unsustainable.
Other obstacles? — Oh yeah!
Facebook, which had the best live streaming quality among the popular social networks, had lost all of its audience engagement power, and while an artist could have a million likes on their pages, only 0.5% of that audience could be reached especially for streaming.
The Solution!
Implementing a cross-platform flow that leveraged artist’s collective social media presence to drive shared audiences from their Instagram, Facebook, and Twitter profiles, to the Instagram live concerts, jumping from one to the other in a simple way.
Joining forces with spanish festival Yo Me Quedo En Casa Festival, we improved upon their hits and misses to create an ecosystem for both artists and audience that could allow them to flow from artist to artist like a real festival with minimum obstacles.
What about the booking of all the artists?
From our couches, we built an international team of multidisciplinary members who used their personal and social, and industry influences to convince artists to play for free in exchange for the relevance that the festival was gaining and the PR positioning that could be exploited by being part of a social cause like the one we were building.
The Process
With an almost impossible time frame, we built the foundations of the UX, the lineup and the ad channels in just 2 weeks, using a mixture of a million phone calls, chat proposals, email campaigns, PR Stunts, and influence from previous alliances.
Conceptualizing & planning
Alliances & booking
Production & advertising
Showtime & iteration
“Concert Streaming Was A Lifeline For The Music Industry During Covid.”
With everyday 13-hour shifts, a million phone calls great design, and a bit (a lot) of luck, we built a multidisciplinary team of engineers, A&R executives, designers, and artists from 16 countries.
Branding & Wireframing
Communi-
cation
channels
We used instagram as our main tool for communication and streaming but mixed it with cross-platform advertising and wide media coverage
The metrics!
We assembled a line-up of 124 well-known artists that reached an audience of 57,000 spectators, growing its Instagram from 0 to 10,000 followers in 4 weeks.
