Over the past year, we’ve been collecting case studies and articles from our colleagues at Omnicom Experiential Group on the inflexion points of the experience economy during the pandemic. Today’s articles are part of a content series called New Normals. With most of the restrictions in some European countries having been lifted over the past month, we thought we’d end this series with a reflection on how this period will impact the future of brand experiences.

In a recent Marketing Week piece “Experiences Make Memories – It’s Time for Brands to Be Bold Again,” the Consumer Media Director of a global FMCG brand writes: “Our memories are made of experiences, which in turn are intertwined with our sense of self or identity. The best companies see brand experiences as potentially relevant to people’s lives, offering them valuable insight, emotional or cultural impact, word-of-mouth information, social cache, or status.”

Adapting to social distancing during the pandemic meant trying to recreate brand experiences that were impactful even when remote, pushing the boundaries of what was possible. When we realized that there would not be a single “new normal” globally, but that we would see events and live experiences adapt in multiple ways, each one different from the other, the idea of ​​the New Normals column was born.

Experiential marketing has always lived with the problem of its limited audience reach: it is said that only 1% of people can be truly engaged, while 99% only hear about it. Until now, this issue has been addressed by publishing content of the events on social media and in the press to amplify the news to a larger number of people. Today, however, the industry is moving towards a more shared idea of ​​experience, where events are not only designed to be experienced in person but to actively involve the audience watching them from home.

The restrictions have led to much more than a simple amplification of the message. The explosion of digital events has become an opportunity to create something completely new that exists only for the remote audience as if it were a ‘third’ form of content. And while we can’t wait to see each other in person, the legacy of 2020 will continue to transform the experience economy.

So let’s rediscover the different ways in which the sharing of live and online experiences is influencing industries globally.

The explosion of digital events has become an opportunity to create something completely new that exists only for the remote audience as if it were a ‘third’ form of content.

SPORTS AND ENTERTAINMENT: TURN DISTANCE INTO OPPORTUNITY

“When sports stopped, fans felt lost. The idea of ​​not having games to fill our weekends or not being able to plan our summers was something we had never seen before. But where there is chaos and uncertainty, there is potential for innovation.” Ania Sponaski, VP of Global Sponsorship at GMR (US), explored how the emerging crossover between mainstream sports and eSports is fertile ground for the birth of new entertainment content, new perspectives and overall greater fan interaction from anywhere in the world.

This crossover came to life through the case study of the Red Bull M.E.O World Finals in Istanbul as a pilot project for “a new hybrid era, mixing multi-sensory experiences with technology,” described by Egemen Ozcan, CEO and Experience Designer at HeyMo (Turkey). Similarly, Andrea Togliani, Strategist at Inventa TRO, wrote about the potential of social audio through the example of Inter Milan’s innovative use of Clubhouse the night before the Derby della Madonnina.

We’ve seen new fan engagement tactics outside of sports, too — DC FanDome 2020 set a new benchmark for virtual events, with a design that steers clear of “the tedium of sitting through multiple Zoom calls back-to-back.” As music marketing strategist Bas Grasmayer explains for Pitchfork, “The goal is not to replicate the activity, but to recreate the emotions people feel when they go out.” This shift in focus has paved the way for a whole new form of content consumption that will complement live events with greater fan intimacy, at a larger scale.

TRAVEL AND TOURISM: RETHINKING ESCAPE

“Not only do virtual environments allow users to experience something new, but spaces can be designed with unlimited imagination, creating infinite possibilities, from floating cities and colourful landscapes to barren deserts.” Will Jordan, 3D Designer at TRO (UK), explored new frontiers in virtual environment design through the example of Paul Milinski’s Dreamscape, which took our relationship with the every day to the next level, using utopian and surreal environments. Similarly, former TRO UK Strategist Fola Enifeni explored the use of VR in the tourism sector with the example of a Czech travel agency, Sygic Travel.

Recreating the experience of escape virtually opened up endless possibilities for experimentation that, in the real world, would have been too expensive or impossible to achieve. Furthermore, these experiences reframed the idea of ​​escape – transforming it from a banal whim to an expression of creativity and a necessary outlet for one’s mental well-being.

“One of the (very few) silver linings of the pandemic has been the resulting softening of the stigma around mental health. Several brands have opened a dialogue with their audiences, inviting them to release frustrations, feel loved and learn to manage stress”, writes Sara Moore, creative director of The Story House (USA) in her piece “I’m Going to Scream in Iceland and I’ll be back!”. For example, the Icelandic tourism board played on the frustration of not being able to travel by broadcasting people’s screams through speakers placed all over the island.

HOME AND AUTOMOTIVE: NEW SPACES FOR EXPERIENCES

“We will imagine the home differently as if it were a canvas for different types of experiences to be lived. They could range from entertainment, family activities, self-improvement and beyond.” Miranda Valentine, former VP, of Strategy & Communications at Pierce (USA), reflects on how tequila brand Patrón has been able to bring the experience of making cocktails into people’s homes.

This is just one of many examples that have kicked off the so-called “Age of Insperience”. A term coined by Barclaycard as a result of their research into the phenomenon that has transformed the home from a space of rest to a space of adventure. According to their research, a third of retailers have launched products and services specifically designed for use at home during the months of lockdown, while 78% were considering a future partnership of this kind with companies.

Mike Thompson, VP of The Story House (USA), wrote about the “fourth space” trend with the example of Pepsi who, thanks to their “Tailgate in a Box” promotion, used the matches to enter people’s homes and celebrate the start of the 2020 American football season. Similarly, Andrea Togliani, Strategist, explored what this trend could mean for the automotive industry and the future of multi-brand car shows and launch events. What if the car itself could act as a fourth space? That’s exactly what The Story House Senior Account Director Matt Furrie pondered through the case study of Netflix, which evolved the ‘drive-in’ into the immersive ‘drive-in’ experience of Stranger Things.

SHARED SPACES: SAFE, CONNECTED, MODULAR

“The pandemic has ushered in a new culture of living that prioritizes the concept of ‘sensitive environments’ and maximizes the well-being of residents.” Stefano Albè, Head of Live Communication, wrote about the lasting impact of the pandemic on living spaces, with homes and buildings becoming as self-sufficient as possible to withstand even long periods of isolation. Similarly, we’ve seen how the need for social distancing has creatively transformed shared spaces with Stella Artois street art in the heart of London’s Brick Lane.

On the flip side, in the lead piece of New Normals, “Pokemon GO Makers Team Up with Immersive Theater to Create Post-COVID Experiences,” I warned of the potential risk that augmented reality experiences could pose to shared public spaces. Restrictions have highlighted the importance of unmediated public spaces like parks. One of the biggest criticisms of augmented reality is that it could ruin the sense of the public realm.

This, in part, is why enthusiasm for smart cities has dimmed this year. Both Europe and North America saw significant declines in the number of smart city deployments in 2020. According to data cited in City Monitor, major vendors have also slowed or moved away from smart city deployments around the world. “People are more focused on their communities,” says Story Bellows, a partner at the urban change management consultancy Cityfi.