BMB 630 Module 10 Final Project Example

Integrated Marketing Plan, 2027

[Student Name]

Southern New Hampshire University

BMB 630: The Business of Music Marketing

Final Project

[Instructor Name]

[Date]

The organization, setting and figures below are a composite written as a model document. No real employer, client, colleague or patient is described.

Integrated Marketing Plan, 2027

Executive Summary

Richmond's best-known independent club, with its big room for 1,100 and a small room for 250, takes in roughly $7.4 million a year. Artists praise its sound and hospitality and a core of loyal fans keeps returning, yet weeknight crowds are thinning, a promoter-owned theater across town is taking tours, the customer list is wasted on one generic weekly letter, and fees anger buyers. This plan gives the club one promise to keep, three groups of fans to serve, six targets for the end of 2027 and four strategies that support one another. It spends $320,000, and it will be judged by tracked ticket sales, controlled tests and a dashboard read every month.

Situation in Brief

The big room filled about seven in ten places in 2023 and closer to two in three by 2025, with weeknights doing worst, at a little over half. The purchase history is lopsided: a few thousand frequent fans supply close to a third of the door money, while about half of all buyers come one time and are not seen again. The cheapest channel, email, already drove more tracked sales than the most expensive one, social advertising. Two of the club's strongest 2023 bookings played the rival theater two years later, and service fees, adding more than a fifth to face prices, are the top cause of complaints.

Positioning and Targets

Keller (1993) argued that brand value comes from the associations customers hold, and the venue's are already strong: sound, artist treatment and loyalty. The plan's positioning builds on them. The targets are regulars for retention, genre loyalists for frequency and side-room discoverers for growth, with big-show buyers reached show by show through artists' promotion.

Objectives

The six targets carried from Milestone Two are: fill about three quarters of the big room on an average night; lift weeknight shows to roughly six in ten; nearly double the members club, to six thousand; get two of every five tracked online sales from email; see one in five small-room buyers move up to a big-room show inside twelve months; and cut fee complaints by more than half. Each has a 2025 baseline and a named owner.

Strategies and Tactics

Strategies, tactics and objectives

The strategies feed one another. Members receive presales, which produce the presale results that persuade agents; the discovery series turns side-room fans into main-room buyers, many of whom become members; and all-in pricing protects the goodwill on which the loyalty program depends. Because a fan meets a business at many points before and after buying (Lemon & Verhoef, 2016), the plan treats each point as a doorway to the next one rather than a separate campaign.

Community and Partnerships

Community and partnerships tie the strategies together. The voting night, the poster crew and the year-end members show give regulars reasons to feel part of the room rather than customers of it. Three record shops sell side-room tickets and host listening events; the university radio station co-presents discovery shows; and a local brewery sponsors the members show in exchange for its beer being poured at member events. Each partnership costs little cash and supplies earned media, which the evidence from 2025 showed matters more than its budget suggests. Partners will receive the same monthly summary of results as the venue's staff, so they can see the value they add.

Calendar and Budget

The calendar follows the venue's year: the members club relaunch and agent presale program in the first quarter, the discovery series from April, a side-room and campus emphasis in summer and the fall season plan in the fourth quarter. The $320,000 budget allocates $96,000 to the midweek series, $82,000 to the loyalty program and email, $76,000 to show-by-show media, $24,000 to the agent program, $12,000 to fee communication, $10,000 to measurement and a $20,000 reserve.

Measurement and Control

Every link carries a tracking code, and every paid campaign has its own code so sales can be traced. Three controlled tests will run in 2027: a holdout group for the welcome series, a holdout group for paid social on six shows and a random comparison of send times. A monthly dashboard reports the six objectives, revenue per thousand messages, unsubscribes and paid media cost per ticket. Quarterly reviews compare results with targets and move the reserve. Kotler and Keller (2016) describe marketing control as comparing results with plans and correcting course, and the quarterly review is that mechanism.

Risks and Fallbacks

If the discovery series does not reach 58 percent attendance by midyear, the venue will move it to one night a week and redirect half its budget to genre-specific midweek shows. If agents do not respond to the presale program and more tours move to the theater, the venue will lean further into side-room development, growing the artists who will fill the main room later. If a major social platform changes its rules again, the plan already depends mainly on owned channels. And if fee complaints do not fall after all-in pricing, the box office will survey complaining buyers to learn whether the issue is the size of the fee or how it is shown, before renegotiating with the ticketing company.

Conclusion

The plan turns the venue's strengths into a coordinated program: a clear position, focused targets, measurable objectives and four strategies that reinforce each other. It spends its budget where the evidence points, measures results honestly and states in advance what will change if the numbers fall short.

References

Keller, K. L. (1993). Conceptualizing, measuring, and managing customer-based brand equity. Journal of Marketing, 57(1), 1-22. https://doi.org/10.1177/002224299305700101

Kotler, P., & Keller, K. L. (2016). Marketing management (15th ed.). Pearson.

Lemon, K. N., & Verhoef, P. C. (2016). Understanding customer experience throughout the customer journey. Journal of Marketing, 80(6), 69-96. https://doi.org/10.1509/jm.15.0420