Marketing Plan

RNB Management Marketing Plan
2020
Beka Bishop- Full Sail University

Running head: RNB MANAGEMENT 1
Table of Contents
1 Executive Summary
2 Market Analysis
2.1 Market Summary
2.2 Market Trends
3 Target Market
3.1 Customer Persona
4 Competitive Analysis
4.1 Competition
4.2 Strengths
4.3 Weaknesses
5 Market Positioning
6 Integrated Marketing Communications Strategy
6.1 Marketing Objectives
6.2 Marketing Tactics
7 References

1. Executive Summary
The purpose of this business marketing plan for RNB Management for the years 2020 and
2021 examines the opportunities for growth through traditional and non-traditional
promotion mix tools. It encompasses marketing trends and discusses the strengths and
weaknesses of RNB Management’s competition, Big Loud Management and Big Machine
Label Group. RNB Management is an artist management and tour management company that
provides services for career revitalization and continuation to established Country and Rock
artists.
2. Market Analysis
2.1. Market Summary
The music business that will be discussed is an artist management service. The North
American Industry Classification System (NAICS) code for this industry sector is 711410
which includes “agents and managers for artists, athletes, entertainers, and other public
figures” (NAICS, 2010). This industry sector focuses on the overall management, contract
negotiations, financial management, marketing, and promotions of the public figures
(NAICS, 2010).
Artist managers hold an artist’s career together in hopes to accelerate the artist’s career.
Managers are the liaison for their artist to the outside and business worlds. A manager will
facilitate opportunities and deals, create marketing schedules, and sometimes double as a
counselor for their artist. Due to the job intensity, managers typically receive a commission
of 15 to 20% off of what their artist makes (Gibson, 2016). Trust is a very large component

between the artist and the artist manager so typically, the artists engages in a high-
involvement decision making process. With high-involvement decision making like choosing
an artist manager, the artist could feel anxious about whether they are making the right
decision and vice versa with managers questioning if this is the right artist to sign. The
management company might offer a lot of information about their services and even
handhold their artist through the process, while the artist would share information and their
music to the manager (Tanner, 2013). These are all consistent attributes with high-
involvement decision making.
With high-involvement decision making processes, it is typical for decisions to be made
cognitively rather than based on emotions (Allen, 2012). However, with artist management,
decision making can be made both cognitively and emotionally. Managers should choose
artists to work with based on trust, reliability, the artist’s potential, and other cognitive
decisions. Managers also need to firmly believe in their artist, as there will be a lot of “no’s”
and long hours. Artists should choose a manager to work with based on which manager will
help them reach their career goals, who has the best connections, and whether or not they feel
like they would benefit from the manager’s style of management (Allen, 2014). Both artists
and managers also need to evaluate whether or not they can trust the other.
The needs and motives of artists looking for an artist manager fall under the Esteem and
Self-actualization categories of Maslow’s Hierarchy of Needs. Artists are looking for
validation and status while they further their knowledge about themselves and the industry
(Allen, 2012). It is up to the manager to guide their artist through the obstacles that come
with growing in the Hierarchy of Needs.
2.2. Market Trends

The number of artists has risen thanks to the widespread availability and easement of
recording technology and distribution of music. With the rise of artists brings the rise of
demand for artist managers. In fact, experts have projected an 8% increase in artist
management careers until 2028 (Bureau, 2020). This is potentially a positive trend impacting
artist management companies as there will be more artists seeking managers and there will be
more artists to choose to work with.
On the contrary, having an explosion of artists could mean fewer opportunities for artists
and artist managers. Most artists capitalize on multiple income streams outside of music such
as acting, fashion and beauty products, technology, and even sports. Due to the awareness
that most artists need multiple streams of income, this could become a negative trend for
artist management companies because there will possibly be fewer unique opportunities to
get particular artists to stand out. Another negative trend for artist managers is the COVID-19
pandemic. Many artists are not able to go on tour, which means many artists are having to
focus on different ways to pay their bills, resulting in less work for their managers. Even
when concerts are able to happen again, audiences will be much smaller, which could result
in many artists opting out of touring if they cannot do more than break even (Coie, 2020).
3. Target Market
The target market for my artist management service consist of males living in Nashville,
TN. They fall between the ages of 50-70-year-old and had booming music careers most
likely between the 80’s- early 2000’s. Their income ranges varies mostly due to how
involved they are in the music industry. Typically, their net worth is below $1 million. They
like to live a more busy, well-off lifestyle with nicer homes and cars and invest into new
businesses and technology. They can be found in the studio, on tour, with their families, or

working on new projects. They typically are passionate, strong-willed, charismatic, good
looking, and trendy. The usage rate for this audience is approximately three to five times
weekly and renewed every two to three years. They are sole users who are wanting to work
with one manager to accelerate or reignite their careers.
3.1. Customer Persona
James is a 50-year-old Country Rock artist from Nashville, TN. He dropped out of
Middle Tennessee State University (MTSU) to pursue a career in music. He had a few hit
singles in the 90’s and 00’s but his career did not take off like he had hoped. He performs at
local bars almost every night and even tours with his band during the summer. He also is a
song writer for many current chart-topping Country artists. Outside of music, he enjoys
spending time with family and friends, watching football, and volunteering at the local
Veterans Home. James wants to spark his career again as he has been working on his new
album for almost 10 years and knows it’s potential. He is looking for a management
company that will take him seriously and help launch his career again.

4. Competitive Analysis
4.1. Competition
A direct competitor for my company would be Big Loud Management. While Big Loud
doesn’t focus on revitalizing the careers of artists, they are based in Nashville and work with
up-and-coming artists and breaking artists, which is similar work to revitalizing an artist’s
career (Big, n.d.).
An indirect competitor for my company would be Big Machine Label Group. Big
Machine Label Group is a record label that focuses on managing and publishing country and
pop artists.
4.2. Strengths
Big Loud Management has managed many well-known country acts such as Florida
Georgia Line, Chris Lane, and Morgan Wallen (Big, n.d.). Their artists are hitting the top of
the charts from Chris Lane’s “Big Big Plans” to Hardy’s “One Beer” to Morgan Wallen’s
“Whiskey Glasses”. Big Loud Management focuses on developing artists on top of managing
their artists. This makes them stand out from other artist management companies in Nashville
because many of them are not focusing on developing newer artists. Big Loud’s Instagram
platform is verified and has a professional black and white aesthetic. Their website features
information regarding team members, their artists, and publicity with their artists. Due to
their current roster, Big Loud has advantages that many independent management companies
might not have.
Big Machine Label Group has worked with stars like Florida Georgia Line, Thomas
Rhett, Reba McEntire, Rascal Flatts, and Lady A (Big, 2019). The label is also known for
their work with Taylor Swift. Due to the label’s success with artists, it was presumed that the

label was worth a lot of money. In 2019, Scooter Braun purchased the company for $300
million (Chiu, 2019). Braun’s expertise in the industry is a strong asset to the label. The label
currently has 79.9k followers on their verified Instagram account and their social media
platforms are very professional, engaging, and relevant (Big Instagram, n.d.). Big Machine’s
website is informative, helpful, and interactive. Big Machine is an “industry leader in
fighting for artist, songwriter, publisher and record company rights” (Big, 2019). This is
valuable not only their signed artists but will also benefit the label in the future. Since Big
Machine Label Group is so well-known, they also have great connection and access that
many labels do not have.
4.3. Weaknesses
Big Loud Management received a lot of publicity when Florida Georgia Line left them to
join Full Stop Management (Newman, 2020). This was viewed negatively because Big Loud
Management had worked with the duo since 2011. Big Loud’s Instagram currently only has
7k followers which is quite low. Their website also does not feature information about who
they are as a management company. While the management team has many well-known
artists on their roster, they do not use this to boost their name into the public. This could be
an issue if they lose their current standings with their artists.
Big Machine Label Group and Scooter Braun received negative publicity when Taylor
Swift shared that the label and owner were bullying her and that the label was being
unprofessional (Chiu, 2019). This received a lot of attention on social media and in the news.
While Scooter Braun has a reputable name in the industry, there are many artists who
criticize and dislike him.

5. Market Positioning
To established, legendary Country and Rock artists in Nashville in need of rebranding or
relaunching their career, RNB Management is an artist management company that secures
out-of-the-box opportunities for artists to capture the attentions of younger generations and
bring nostalgia back to their fans.
6. Integrated Marketing Communications Strategy
6.1. Marketing Objectives
 Reach 10K followers on Instagram in one year
 Increase roster by 3 artists in 6 months
 Expand brand awareness by 70% within 3 months
6.2. Marketing Tactics
To increase Instagram followers, clientele, and brand awareness, RNB Management has
designed a targeted marketing strategy to be used for the next year. To accomplish the
marketing objectives, RNB Management will use a combination of push and pull strategies.
The strategies include, but are not limited to, direct marketing, podcasts, social media and a
website, visual content, and guerilla marketing.
RNB Management will focus on direct marketing aspects with brochures, database
marketing, and through their website. Due its niche target audience, RNB Management will
rely heavily on using brochures at trade shows and events where passing out brochures is
accepted. RNB Management will attend South By Southwest (SXSW) and Music Biz
Conference. According to Suter, having a trade show booth at SWSW could cost
approximately $14,000 (2018). The brochure includes the company name, slogan, logo, value

proposition, product differentiation, product positioning, and contact information. According
to Vistaprint, 250 matte tri-fold brochures will cost $165.74 (n.d.). With the combined
contacts of RNB Management employees, as well as the contacts submitted on the website,
RNB Management will be able to share valuable information via email and text message to
their database. This will allow for exclusive information to be sent out to the fans of the RNB
Management artists before it is released to the public. RNB Management will contact the
email database contacts via MailChimp and will be spending $14.99 a month (Mailchimp,
n.d.). The company will use Community to send text messages to their database and costs
vary (Community, n.d.). The RNB Management website will be the central, virtual hub to
receive information about the company. The website will include contact information, press
about the company and the artists represented, an about section, links to resources such as the
PR podcast, and links to the social media pages. There will also be a multiple opportunities
for website visitors to sign up for more information. This will put the website visitor on the
MailChimp email list. RNB Management will spend approximately $10,000 to build and
maintain the website throughout the next year (Brinker, 2020).
RNB Management will host a Public Relations (PR) podcast that will be shared on the
website, Apple Podcasts, Spotify, and YouTube. The content for each episode will center
around the music industry and give tips to artists. Each podcast will be between 3-5 minutes
long and will be released once a week. While adding the podcasts to these platforms is free,
RNB Management has placed a budget of $200 a month to cover the costs of production,
editing, and Adobe Audition (Podcast.co, n.d.).
RNB Management will rely heavily on social media. YouTube, Facebook, Twitter,
and Instagram will be the main platforms. YouTube will host the RNB Management podcast

and interviews with their artists. Facebook, Twitter, and Instagram will feature marketing for
the artists signed to RNB Management, the podcast, and music industry news. RNB
Management hopes to receive traction to these profiles through likes, follows, retweets, and
comments. RNB Management will also hold contests for fans to receive merchandise,
autographs, and even videos from their artists occasionally. To promote these contests, RNB
Management will spend approximately $100 total on Instagram and Facebook to boost the
contest posts. RNB Management will use the hashtag #RNBmanagement on all posts and
will ask their artists to use the hashtag to organically promote the company. The company
will also pay to have a geofilter on Snapchat and an augmented reality (AR) filter on
Instagram. The geofilter will cost approximately $5 to $20 per day and will only be found in
a small radius near the RNB Management headquarters (BuyCustomGeofilters, 2020). The
augmented reality filter will use SparkAR to publish the filters on Instagram (SparkAR, n.d.).
Commercials and video promotion will be valuable to RNB Management as they will
increase brand awareness and show viewers what the artists are accomplishing. RNB
Management will air a 30- second commercial to inform viewers about who they are, what
they can do for clients, and what they are doing for clients. RNB Management will play this
during the Country Music Awards (CMA) which could cost “$150k up to well over 1 million
dollars” (Beverly, 2018). Other visual content RNB Management plans on producing and
sharing are video testimonies, promotion of artist’s work, and event promotion. These videos
will be premiered on YouTube and on Instagram. RNB Management will rely on organic
promotions and will not spend money on promoting it on social media platforms.
RNB Management foresees incorporating physical guerilla marketing through murals on
the side of their headquarters. Murals are very popular in Nashville. In fact, there is a Mural

Tour in Nashville for tourists (Nashville, 2020). RNB Management will have murals to
attract artists and influencers and to increase brand awareness. The murals will focus on
themes from the company’s artist’s music and include the RNB Management logo. The
average mural cost in Nashville is $17.94 per square foot, so RNB Management will be
selective on what murals will be produced (ProMatcher, 2018). This form of marketing
should be engaging, exciting, and enticing, so RNB Management aims to include all three
aspects. While visitors enjoy the murals, they will also be able to use the Instagram AR filter
and the Snapchat geofilter. The hashtag #RNBmanagement will be showcased next to each
mural to encourage visitors to use the hashtag.

7. References
Allen, P. (2014). Artist management for the music business (3rd ed.). Focal Press
Allen, P., Hutchison, T. Macy, A. (2012). Record label marketing (2nd ed.) Focal Press
Beverly, T. (2018, Dec 17). How much does it cost to produce a commercial? Retrieved August
1, 2020 from https://beverlyboy.com/tv-commercial-production/how-much-does-it-cost-
to-produce-a-commercial/
Big Loud Management. (n.d.). Retrieved July 15, 2020, from https://bigloudmanagement.com/
Big Machine Label Group. (2019). About/ FAQs. Retrieved July 18, 2020, from
https://www.bigmachinelabelgroup.com/faqs
Big Machine Label Group [@bigmachinelabelgroup]. (n.d.). Retrieved from
https://www.instagram.com/bigmachinelabelgroup/
Brinker, Mark. (2020, July 15). How much does it cost to build a website for a small business?
Retrieved July 30, 2020 from https://www.markbrinker.com/website-cost
Bureau of Labor Statistics, U.S. Department of Labor. (2020, April 10). Advertising, promotions,
and marketing managers: occupational outlook handbook. (2020, April 10). Retrieved
July 08, 2020, from https://www.bls.gov/ooh/management/advertising-promotions-and-
marketing-managers.htm
BuyCustomGeofilters. (2020). Snapchat geofilters: everything you need to know (2020).
Retrieved August 1, 2020 from https://www.buycustomgeofilters.com/blog/snapchat-
geofilters-everything-you-need-to-know
Chiu, M., Falcone, D. R., Tracy, B., Dugan, C., McNeil, L., Cedenheim, P., Green, M. (2019,
July 22). Taylor goes to battle. People. Vol. 92 Issue 4, p15-25. 6p. 29. EBSCOhost.

Coie, P. (2020, May 19). Stormy weather: the Coronavirus pandemic's impact on the music
industry. Newstex Blogs JD Supra. Retrieved from https://advance-lexis-
com.oclc.fullsail.edu/api/document?collection=news&id=urn:contentItem:5YY3-KKG1-
F03R-N3KH-00000-00&context=1516831.
Community. (n.d). Community Home. Retrieved August 1, 2020 from
https://www.community.com/
Gibson, S. (2016, November 24). California talent agency and artist management contracts -
what you need to know. US Official News. Retrieved from https://advance-lexis-
com.oclc.fullsail.edu/api/document?collection=news&id=urn:contentItem:5M7V-VC61-
DXCW-D2D9-00000-00&context=1516831.
Mailchimp. (n.d.). Pricing. Retrieved July 29, 2020 from https://mailchimp.com/pricing/
NAICS. (2010, November 02). US Census Bureau site North American industry classification
system main page. Retrieved July 15, 2020, from https://www.census.gov/cgi-
bin/sssd/naics/naicsrch?code=711410
Nashville Music City. (2020, June 18). Nashville murals. Retrieved July 30, 2020 from
https://www.visitmusiccity.com/trip-ideas/nashville-murals
Newman, M. (2020, February 03). Florida Georgia Line joins Azoff's Full Stop Management
following Big Loud split. Retrieved July 16, 2020, from
https://www.billboard.com/articles/business/8549978/florida-georgia-line-full-stop-
management-azoff-company
Podcast.co. (n.d.). How much does a podcast cost? Retrieved July 30, 2020, from
https://www.podcast.co/inspire/how-much-does-a-podcast-cost

ProMatcher. (2018). Nashville mural painting costs and prices. Retrieved June 29, 2020 from
https://muralists.promatcher.com/cost/nashville-tn-muralists-costs-prices.aspx
SparkAR. (n.d.). SparkAR. Retrieved August 1, 2020 from https://sparkar.facebook.com/ar-
studio/
Suter, G. (2018). Nutshell at SXSW: what $100k gets you. Retrieved August 1, 2020 from
https://www.nutshell.com/blog/nutshell-sxsw-what-100k-gets-you/
Tanner, J., Raymond, M. A. (2013, Jan 1). Principles of marketing (2nd ed.). Flat World
Knowledge, Inc.
[Untitled image of singer]. n.d. Unsplash. Retrieved from
https://unsplash.com/photos/vj3AFYmtUWw
Vistaprint. (n.d.) Brochures. Retrieved June 29, 2020 from
https://www.vistaprint.com/marketing-
materials/brochures?couponAutoload=1&GP=07%2f30%2f2020+21%3a19%3a28&GPS
=5735969315&GNF=0

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