Abstract
Based on the perspective of concert experience marketing, this research explores whether consumers resonate with the brand STAYREAL through celebrity endorsements while using the P-O-X theory as the research’s structure. Research subjects are audiences who have participated in the Mayday concerts. Mall-intercepts method with intentional sampling is used and questionnaires were distributed at the “Super Slippa– part 9” and “The Great Nobody” of 831 rock band in 2018 at the Taipei Arena. 422 valid questionnaires were returned from the 469 distributed. Data were analyzed using the statistical software SPSS19.0 and it was found that: 1. Experience value has a significant positive impact on celebrity endorsements; 2. Experience value has a significant positive impact on brand resonance. 3. Celebrity endorsements have a significant positive impact on brand resonance; 4. Celebrity endorsements have a partial intermediary effect between experience value and brand resonance, which proves that P-O-X is in a balanced state. In order to reach a stage of consumers’ resonance with the brand, future research can examine the utility factors such as brand attributes in price, design, fabric, comfort, color, etc. at the same time.
Highlights
1.1 Music EntertainmentTechnology developments have changed people’s music consumption
Celebrity endorsements have a partial intermediary effect between experience value and brand resonance, which proves that P-O-X is in a balanced state
This paper is trying to add contribution by looking the brand strategy applying the P-O-X theory within three different parties, where P represents the oneself, O is the other party (Mayday celebrity endorsement), and X is a third party between P and O (STAYREAL Brand resonance), the following hypotheses are stated: H1: Experience value has a significant positive impact on celebrity endorsement
Summary
1.1 Music EntertainmentTechnology developments have changed people’s music consumption. In the 70 and 80s, music listeners went from buying vinyl records, audio tapes, cassettes and CDs to downloading MP3 music files by the end of the 90s due to the increasingly popular use of the internet. A survey by Taiwan’s Ministry of Cultural estimated total profits of Taiwan’s popular music in 2011 at NT$10,292 billion, of which music entertainment companies contributed about NT$3,015 billion, digital music service companies about NT$1,610 billion, and live performances about NT$3,640 billion (Ministry of Cultural, 2013). Consumers’ reception of audio visual music no longer focuses on auditory satisfaction brought by physical music products, and involves live music performances which target consumers’ experience of music. The rise of music performance activities illustrates the advent of the experience generation. Actors, dancers, etc. are experience providers, the service experience they provide disappears at the end of the shows, lasting memories are created yielding irreplaceable consumers’ experience value
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