A version of this post appeared on Edelman.Amsterdam.
The annual Eurovision Song Contest, in all its light-hearted frivolity, is serious business for businesses. With 42 entries, more than 200 million viewers from Australia to China and numerous international and local sponsors, Edelman Amsterdam looked at which conversations, topics and brands resonated with online audiences. Our goal was to understand how value was derived from their investment, and what opportunities there might be by analyzing what earned fans’ attention. Here are five key things that we learned:
Know when to expand social networks
While Instagram led the online engagement throughout the year, Twitter’s engagement level soared (3.49 times higher than Instagram) during the grand finale. So, be prepared to jump on other platforms to join the conversation.
Online conversations didn’t predict the winner
The United Kingdom generated the most online conversations, but ended up in 15th place during the night. Six out of 10 countries with the highest audience engagement before the finale went on to secure a place in the coveted top ten. Clearly this shows that social media engagement data has a long way to go before it replaces traditional indicators, but it already suggests there is value in using this data to determine where to invest sponsorship/influencer marketing budgets.
Sponsors that create Eurovision-related content score better
This sounds self-evident, but what we know and what we do, in the face of busy schedules and tight budgets, does not always line up. Some sponsors did not create sufficiently interesting content to unlock the value of their sponsorship. The five global sponsors gained a minimal share of voice of 0.0079 percent of total coverage out of 6.9M conversations generated around Eurovision from both social and online media.
Hijacking the moon
From a sponsor perspective, the most fascinating thing that happened was the DreamWorks logo moment. Nathan Trent, the Austrian contestant, sang in a big moon which resembled the DreamWorks logo. This sparked an online conversation in which many argued he was the actual boy from the logo itself: his performance was the reenactment of the Dreamworks logo in musical form. Of course, in the end, he was not the boy from the logo, but that didn’t stop the conversation. Dreamworks’ logo exposure was 33 times higher than that of any official sponsor. Essentially, DreamWorks (unknowingly) hijacked the biggest entertainment show on earth.
Beauty, fashion & lifestyle brands: missing in action
Perhaps the most startling this year is the fact that an event that is so synonymous with style, cosmetics, beauty and fashion lacked (global) sponsors and online conversations in exactly that area. This year, there were no relevant official lifestyle brands in relation to the Eurovision Song Contest. With potential online reach of 4,121,583,097 online impressions during the grand finale alone, a defined happy-go-lucky audience and a specific time slot, it’s not hard to imagine what fun and relevant impact brands could make.
Images by Eurovision Song Contest.