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N: It's been interesting to watch the evolution of SXSW, especially over the last decade. We've already seen SXSW go to Sydney, so it's not a surprise to see it travel to Europe. Had I heard the festival was going to new locations I would have predicted they'd pick cities known for their counter-culture, which would have been true to the original spirit of SXSW in Austin. The choices of Sydney and London make it clear that it's the more contemporary, tech side of SXSW that they're leaning into and spreading globally.
G: It’s a badge of honour that SXSW is choosing London as their European home over somewhere like Berlin or Lisbon - especially considering the post Brexit disconnection from the EU. But given the capital's continuing proliferation of tech startups, the available investment to back them, our strong agency culture, and the city’s track record in music and the arts, it seems a good fit.
N: SXSW has always been about celebrating creativity and innovation. Whether in its infancy as an independent music festival, it's evolution to include a film festival, or in its current state that has opened the aperture to tech and education, creativity and innovation is the most important currency at the festival and what every brand should bring to the moment.
G: I’m hoping that a new iteration of SXSW provides a chance to reset and tap into the original creative spirit of the festival rather than focusing on the more corporate pay-to-play elements.
N: SXSW has always embraced the local culture, and welcomed folks from around the world. They're here to experience the best in creativity and innovation through the lens of the host city, ideally activating in partnership with the local artists and businesses.
G: Artists need to be true to themselves and their creativity and not just get involved for ”the exposure”. Brands need to find an authentic connection between themselves and their collaborators in order to deliver a credible and more believable experience.
N: SXSW has a proven track record of success but the barrier to entry in Austin has become too high for some; activating in a satellite city like London is a great way to be at the forefront of something new with the advantage of it coming with the guarantee of something tried-and-true.
G: Getting in at the ground level may feel a bit risky, but the opportunity to be present on day one and help shape the London iteration of SXSW is a compelling proposition and a risk that’s probably worth taking.
N: With very, very few exceptions, most brands expect people to be tight on time. I’d strongly recommend having simple, streamlined messaging and easy-to-understand experiences. Brands should also avoid using tech-for-tech's sake, and make sure any tech-driven experience is highly intuitive. People come to SXSW to experience as much as possible, get inspired, capture and share, so keep that in mind.
G: Too many brands put themselves and what they want to say ahead of their audience. To avoid this, it’s vital that they consider what the audience might want from their visit before finding a way to frame their message in a way that aligns with their needs.
N: While tech and entertainment tend to have the biggest presence, this truly is a place for all industries looking to reach a creatively minded, innovation-focused audience. Historically automotive (e.g. Porsche), consumer packaged goods (e.g. La Croix, Sharpie, Tide), travel & hospitality (e.g. Delta, tourism board of Australia), and finance (e.g. American Express) have all had a presence and successfully made a splash in this space.
G: It’s a chance for any brand to tell their innovation story, which opens up the opportunity to many other sectors. I’d also love to see some of the iconic London brands in fashion & entertainment get involved and help put their unique stamp on the festival.
N: A sense of discovery is very important. While you're telling a simple and succinct story, the way to keep folks in your space is to create immersive experiences that lead folks on a journey of play and discovery throughout.
G: It’s also worth considering the audience's need state - sometimes it's enough to give a seat to someone who’s been on their feet all day. Much of the potential audience will be following along on other channels - especially if they're waiting to see if it’s worth attending next year, so brands should look to amplify their story effectively to reach them.
N: The biggest audience in attendance are the creative class – corporate professionals in creative fields and industries – and the media. SXSW can be a bit of an industry event as well, so this is an instance where you're really blending B2C and B2B.
G: Don’t expect Austin on year 37 - expect London on day 1. Be curious, try seeing as much as you can, and look for the best in everything rather than ticking boxes and comparing everything to your experience in Texas.
N: For entertainment brands, SXSW creates the perfect opportunity to launch a new show, the latest season, or a new movie premiere. Because of the official on-stage programming, these brands can potentially secure a spot to do a screening and Q&A with talent as well as activate a space. For other brands, showcasing the latest products to hit the market makes a lot of sense, but there's no need for these to show up for the first time ever at SXSW. In the U.S., SXSW typically happens just 8 weeks after CES, so it's pretty typical for big tech announcements to be made at CES and for those same products and services to then show up at SXSW in a much more playful and benefit-driven (vs tech and spec-driven) approach.
G: Launching a product at a time when many others will also be launching products is a double edged sword, sure you might get good physical attendance to your event, but you’ll be competing for wider coverage with many others. If you get involved with the official programming then finding a different POV / securing talent the audience will want to hear from becomes ever more important and avoids your message being lost in a sea of similar presentations.
N: No, there are plenty of ways to make a splash, but if the budget is tight, it's even more crucial that the message be clear and that the idea be simple yet bold. If you don't have a big budget, don't try to do too much as it won't allow you to do any of it particularly well. Focus on the headline and put all energy and resources towards that
G: What Natasha said! My only additional thought would be to look at peripheral opportunities - are there adjacent moments or occasions that might allow you to generate visibility without being part of the official program of events?
N: Obviously the location is crucial, but as we've seen in Austin, some of the most interesting activations happen just outside of the bulls eye. Those outer rings often offer more unique venue choices that bring a lot of character to the activation and often imbue it with a sense of atmosphere that takes experiences to the next level. It also, of course, can be a way to make your budget stretch further. Attendees are quick to travel outside of the epicenter for an immersive and surprising experience, and SXSW attendees are quick to spread the buzz around which activations are a must-see.
G: London has a dearth of available large scale venues, so seeking smaller, off-piste locations and spaces that really stand out seems to be the best way forward. However, you need to give people a real reason to come find you, so having a strong and relevant narrative and a suitable pre-comms strategy is vital.
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