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All-Access (AAA)
@allaccessio
𝐀𝐫𝐞 𝐅𝐚𝐧-𝐂𝐞𝐧𝐭𝐫𝐢𝐜 𝐅𝐞𝐬𝐭𝐢𝐯𝐚𝐥𝐬 𝐭𝐡𝐞 𝐅𝐮𝐭𝐮𝐫𝐞 𝐨𝐟 𝐄𝐧𝐭𝐞𝐫𝐭𝐚𝐢𝐧𝐦𝐞𝐧𝐭? 𝑶𝑹 𝐃𝐨𝐞𝐬 𝐈𝐭 𝐁𝐞𝐥𝐨𝐧𝐠 𝐭𝐨 𝐭𝐡𝐞 𝐁𝐢𝐠𝐠𝐞𝐬𝐭 𝐚𝐧𝐝 𝐌𝐨𝐬𝐭 𝐄𝐬𝐭𝐚𝐛𝐥𝐢𝐬𝐡𝐞𝐝 𝐏𝐥𝐚𝐲𝐞𝐫𝐬 𝐎𝐧𝐥𝐲? What do you think? Read this 🧵
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All-Access (AAA)
@allaccessio
The most popular festivals in the world such as Tomorrowland, Glastonbury, Coachella and more took many years before they achieved the scale of their respective success right now. One has to also remember that everything was cheaper back then. Literally, everything.
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All-Access (AAA)
@allaccessio
While their success is expected to continue for a long time as long as they continue to priortise the experiences of their fans. What is the fate of smaller-scale or even new festivals then? Is the market big enough for everyone?
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All-Access (AAA)
@allaccessio
The answer is yes... However, it is not an exponential growth by any means.
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All-Access (AAA)
@allaccessio
That is why, we at All Access Anonymous (AAA) believe that a future where fans-powered events will be one of the key pathways to building a sustainable brand for the future. Every successful festival has one thing in common: the ability to deliver the best fan experiences.
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All-Access (AAA)
@allaccessio
Leveraging blockchain technology, we’ve put this belief to the test, and our findings have been nothing short of extraordinary. Firstly, we implemented a Web-3-based rewards system at the Watera Music Festival in Vietnam to boost user engagement and elevate the event experience. This resulted in 532 digital wallets being created, 16% of users topping up their wallets, and 10% of users interacting with the festival’s organizer, Ravolution Asia, to claim rewards, including loyalty packs and artist meet-and-greets. It was our first-ever pilot test and we saw firsthand how people want something more than just to attend a festival. Listen to the fans and act on it.
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All-Access (AAA)
@allaccessio
Next, we focused on helping to foster vibrant communities and engaging fans in every aspect of an event. Our brand partner, It’s The Ship, has found considerable success by marketing the festival experience, enticing fans (called ‘shipmates’) through its DuckDrop initiative to purchase duck-shaped totems or risk missing out on interactive experiences with artists and invitations to private parties. Considering that these hypothetical tests demonstrated how gamified experiences can create opportunities for fans to participate and receive rewards during music festivals, can you imagine the level of engagement organizers if tens of thousands of attendees participated?
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