Vevo

Our Extended Play short film with Selena Gomez and benny blanco is nominated in The Webby Awards – and it's up to the public to vote 🏆 The Vevo exclusive takes audiences inside their home and features three live performances. Cast your vote here ➡️ https://lnkd.in/eHbUzZse #Selenators #Webbys #VevoOriginals

How would you describe Ella's brand and visual identity? "Ella Langley comes across as effortlessly cool, but her intentionality is what truly stands out. She has had a clear sense of who she is from the very beginning – from her musical influences, to the stories she chooses to tell, and how she presents herself visually," Vevo's Director, Talent Booking, Cynthia Todd explained to Yahoo News. Read more about women in country and Ella's record-breaking rise in Yahoo: https://lnkd.in/e2VY_rrt

Rethinking what “premium” means in advertising In Australia, I ran a session asking a simple question: what is premium, does it matter, does it deliver better results and can you charge more for it? The only way to make premium is to charge more for it. Because it costs more to be premium. If you were wondering. So what are the pillars of premium? Governance. Trust. Regulation. Transparency. Human verification. Ads seen by real people. Paying only for humans. Brand safety. All valuable. And in the room, clients agreed: premium does drive better outcomes. But here’s the problem. We kept coming back to one question: if an ad unit delivers an outcome, does that make it premium? And we got stuck there. Because if outcomes are the only thing that matter, then everything else - context, quality, governance - becomes secondary. This was a private session, so I won’t attribute comments. But the consistent theme was clear: if it works, does anything else really matter? I pushed back. Where are your ads actually appearing? Do you really know what you’re buying? What about scam ads? What about the broader impact on society What about the rise of AI-generated junk? It didn’t seem to move the needle. The dominant view was: outcomes first, platform second. There was no disagreement on the effectiveness of premium. But there was a clear tension between how those outcomes are delivered and whether that still matters. It raises a bigger question for the TV industry in particular: Should we spend less time defining “premium”… and more time proving why it matters? Because if clients prioritise outcomes at any cost, is the premium model - built on governance, trust, and quality - actually sustainable? To be clear, clients do care about these things. But when there are cheaper options delivering results without governance, without transparency, without human verification, and sometimes even alongside scams - you start to wonder where this all ends. Will the industry be able to afford to build these trusted and transparent environments? This is cheeky but I don't believe clients are getting the results they think they are from cheap areas of advertising. They have just brilliant measurement/attribution/tracking software. It's so over-inflated. I have plenty of anecdotal evidence to support this. Thanks to Vevo Tim O'Connor Pat Crowley Peter Stewart Nicole Bardsley and Jazmaree Bell who made the session what it was. Pictures below plus I included my slides in the comments. Jacqueline Freeman and I discussed this at length afterwards wondering if premium is maybe a funny word for TV. Sameer Modha we discussed this a lot too post FTV.

While rapper Juice WRLD tragically passed in 2019, his legacy lives on through the hundreds of unreleased tracks he is rumored to have recorded before his death. His posthumous releases continue to be fan-favorites that feature notable collaborators like Halsey, Eminem, Polo G, Justin Bieber, and more.

Prime time doesn’t have a schedule. It has fandom. Today’s biggest artists are delivering audiences on par with (and sometimes exceeding) the most talked-about shows on streaming. The difference? No seasons. No drop-offs. While shows peak and fade, fandom stays. These audiences show up every day, giving brands more opportunities to connect in moments that actually matter. That’s the power of music video at scale. 

Join us at #StreamTVEurope for Panel: Content Acquisitions and Distribution Strategies for a Fragmented Market As viewing habits diverge across Europe, content teams across streamers, studios, broadcasters and telcos face a complex mix of regional tastes, regulations, and business models. From pan-European rights deals to the surge in locally produced hits, the EMEA market is redefining how global and regional players think about acquisition, distribution, and growth. • How do studios, platforms and telcos balance exclusivity with collaboration in multi-territory markets? • What role do telcos play as super-aggregators in shaping acquisition strategy, bundling, and consumer access to content? • How is data shaping acquisition, distribution, and risk management decisions? • Are local alliances and co-productions the new competitive edge? Moderated by Jack Davison of 3Vision, you'll hear from Joan Cruells of Viaplay Group, Natalie Gabathuler-Scully of Vevo, Marcos Milanez of Rakuten TV, and David Ball of Crunchyroll. Register now and join us in Lisbon this April: https://loom.ly/1Of6Jvg #Streaming #EMEA #FutureOfTV #Broadcast #DigitalMedia #StreamingEurope #LisbonEvents #contentacquisition

A Vevo tradition, 13 years and counting. This week, in partnership with Advertising Week Europe, we welcomed 250 clients and partners for an electric night of music with DJ and musician, John Newman at center stage. As he steps into a new era, John recently released ‘Love Me Again (Again),’ a bold reimagining of one of the most globally recognized tracks.

As brand needs shift toward more tailored, custom solutions, we’re evolving our approach to this year’s NewFront and Upfront conversations to focus on more intentional, high-impact experiences that drive deeper connection. We’re thrilled to announce our first event: An evening with Nick Jonas at The Jazz Club at Aman New York.

The Video Futures Collective (VFC) has announced its evolution from an informal industry think tank into a formal, independent industry member association – uniting video advertising leaders Amazon Prime, Disney Advertising, Foxtel Media, Netflix, Samsung Ads, SBS, Vevo and YouTube. The VFC is a non-profit, member-driven organisation driving rigorous research, standardised measurement, and long-term advocacy for Australia’s streaming video ecosystem. An accelerated program of initiatives will examine video advertising effectiveness and new programs to help enhance measurement. Toby Dewar has been appointed Interim CEO, with Jo Moses joining as Head of Research and Murray Love as Head of Measurement, alongside Natalie Portelli as Head of Marketing & Communications. The VFC’s research milestones so far include:    ⏩ The Attentive Power of Video Streaming Advertising - a joint venture with Amplified, showing that streaming delivered 3x the active attention vs. linear ⏩ Streaming Effectiveness - a 3-year study with Adgile and GroupM (WPP Media) that has already demonstrated streaming is 2x as efficient at driving business outcomes compared to linear video, with diversified investment across platforms further enhancing performance Read the full release here: https://lnkd.in/gjBycz_n Amazon Ads Amazon Disney Advertising The Walt Disney Company Foxtel Media Foxtel Group Netflix Samsung Ads APAC Samsung Electronics Special Broadcasting Service (SBS) Australia Vevo YouTube YouTube for Business Alex Spurzem Willie Pang Mitch Parry Nik Weber Mark Frain Craig Johnson Victor Corones Lee Fifoot (nee Callagher) Tim O'Connor Caroline Oates Clare Maranhao Claire Lawler Damien Eames Kicker Communications #VideoAdvertising #Streaming #Measurement #Research #MediaIndustry #Australia

Reaching audiences today means going beyond a single screen. With minimal overlap, Vevo unlocks incremental reach across CTV and mobile, connecting brands to entirely different viewers. Cross-screen isn’t duplication, it’s expansion, enabling more relevant and impactful engagement.