Gorillaz are a British virtual and non-virtual band created by the musician Damon Albarn and the artist Jamie Hewlett, fusing a wide range of genres, from funk to rap rock (Harris, 2017). This makes them a unique brand as they are not tied to a single genre which allows them to enter multiple markets and grow a global fanbase (West, 2020).
Gorillaz have combined music with animation and world building by having fictional animated characters as the faces of the band, each character having their own lore in the Gorillaz universe (Hewlett, 2006). 2-D is the lead vocalist and keyboardist. Murdoc Niccals is the bassist, Noodle is the guitarist and vocalist as well as Russel Hobs on drums and percussion. This combination of visuals, audio, and story elements has made listeners view them as a multimedia brand rather than a traditional brand (Jones, 2019). Being a multimedia brand has become a central part of their brand identity, which shapes how fans interpret their work (Lister et al., 2009). Gorillaz’ universe is its own story on top of that, expanding through animated stories, mini games on their website, and art work in the gallery of the Gorillaz through Kong studios (Egan, 2010).
Gorillaz are an ideal case study because of their strong use of digital, visual, and transmedia marketing (Lister et al., 2009). Their universe is explored through animated music videos, interviews, and comic strips, which deepen the audience’s understanding of the characters and therefore strengthen attachment to the band (Baker, 2018). The Gorillaz Almanac is a strong example of this. The Gorillaz Almanac is 210-page graphic novel documenting the band’s 20-year history and the inner workings of the Gorillaz universe (Z2 Comics, 2020). It includes the first ever comic strip featuring the characters as well as puzzles, games and trivia. This trivia is important because it rewards existing knowledge and encourages fans to feel more connected to the brand through mastery which is a key factor in fan community identity (Hills, 2002). It also includes fan cosplays which encourages audience participation, which reinforces parasocial closeness and fan-driven creation (Jenkins, 2006). This shows how Gorillaz rely on audience participation as part of their marketing strategy which allows fan work to support brand visibility (Jenkins, 2006).
Their large, global and diverse following makes it easier to analyse consumer behaviour (Solomon, 2018). Genre-blending plays a key role in this: the song “Clint Eastwood” blends trip-hop, alternative hip hop and alternative rock with influences of dub reggae and dancehall (Rogan, 2017), appealing to international audiences due to recognisable global genre influences as it covers a wider area making it more familiar to more people. Gorillaz’ worldwide appeal also comes from the lyrical meaning within their songs. Their political themes frequently resonate with working-class listeners or socially conscious audiences (Frith, 2021). “Clint Eastwood” has lyrics such as “i got sunshine in a bag” that can be interpreted as a commentary on drug use and emotional numbness, suggesting he has to get his happiness or “sunshine” from a bag. However this could also be interpreted as artistic ambition saying he is bringing the sunshine in a bag in reference too his music bringing enjoyment. This is furthered by “the future is coming on” an “I’m useless, but not for long” which both can also be interpreted as talking about artistic ambition and the ups and downs that come with that and creative struggle (Jones, 2019). This multi-layered meaning makes the song more consumable to a wider audience because listeners can apply their own interpretations through personal worldview and experience (Tagg, 2012). The interpretable meaning strengthens consumers’ ability to identify with the song, as audiences can project their own values onto the music (Frith, 2021). This allows listeners to associate songs with different aspects of their life, which will encourage them to listen to each song in their respective moments and emotions.
Gorillaz use both Consumer Behaviour Theory and the AIDA model to their advantage. Consumer Behaviour Theory explains why audiences engage with the brand through psychological, social, personal and emotional influences (Solomon, 2018). It also shows the decision-making process of recognising a need, searching for information, evaluating options, making a purchase decision and evaluating the decision post purchase (Kotler & Keller, 2016). In the case of Gorillaz, this process is influenced not only by musical preference but also by the appeal of visual identity and narrative worldbuilding which will encompass a larger audience as there will generally be more things for consumers to form opinions on.(Jones, 2019).
During economic downturns, fans will most likely avoid concerts and merchandise due to financial constraints, but Gorillaz maintain engagement through free online content such as animated videos, storytelling and digital releases (Egan, 2010). Because each character has their own personality and narrative, fans can form emotional attachments which helps build long-term loyalty to the band and its characters (Hills, 2002). Strong storytelling encourages repeated engagement and emotional meaning which also builds durable fan relationships (Jenkins, 2006). This sustained engagement supports repeat consumption even when purchasing temporarily decreases (Kotler & Keller, 2016).
Using the AIDA model, Gorillaz captured attention immediately with their animated characters and distinctive hybrid art style combining Western comic art with Japanese anime influences (Hewlett, 2006). Cartoonish characters paired with horror-influenced landscapes reflect their style blending (Harris, 2017). Their visuals are unique which makes them instantly recognisable (Jones, 2019). Their largely online identity helps increase interactions across social media platforms, where their strong visuals are more likely to be shared. (Lister et al., 2009). They create interest through their fictional universe surrounding each release which encourages fans to explore the characters backstories, music videos, and hidden lore (Lister et al., 2009). Giving multiple entry points for different types of consumers, from casual listeners to dedicated fans allows more fans to be able to interact, ensuring a wider audience (Jenkins, 2006). Gorillaz creates desire by offering an experience rather than just music. This encourages fans to want artwork, merchandise, involvement with the Gorillaz universe (Jenkins, 2006). Desire is strengthened through limited edition items because of their exclusivity as well as the emotion that comes with their story (Hills, 2002). This causes consumers to take action, for example buying collectible merchandise, vinyl releases, or participating in community activities inspired by the band. These behaviours show how Gorillaz guides consumers from passive viewing to active participation within the brand ecosystem (Fill & Turnbull, 2016).
The audiovisual side of Gorillaz is diverse, but the “On Melancholy Hill” video demonstrates the core characteristics of their animation style (Gorillaz, 2010). Online fans often draw themselves in the Gorillaz art style which demonstrates the AIDA model at work. Attention is garnered from the unique visuals, leading to interest in the world, causing them to desire to belong to the “Gorillaz tribe,” and take action through active fan participation (Hills, 2002). The Gorillaz style uses traditional 2D animation with stylised backgrounds, creating a distinctive aesthetic (Hewlett, 2006). The choice of a soft colour palette with the dreamlike surrealism in the video contribute to the emotional tone of the song which reinforces the sense of melancholy and introspection the song intends for you to feel (Egan, 2010). Their videos use visual metaphors to reinforce their storytelling, for example in “Feel Good Inc,” the floating island, oppressive structures and helicopters symbolise freedom versus control which reflects a broader social commentary (Gorillaz, 2005). Their layered visuals have blended gritty city imagery with surreal animation to build on their narrative themes and grow more engagement with their content from their fans (Egan, 2010). Freedom and surveillance being juxtaposed against each other also helps build their political themes across their music which strengthens their consistency of theme across audiovisual media (Frith, 2021). Gorillaz’ interactive game is an important part of their branding which is associated with the Plastic Beach era, demonstrates how interactive and digital storytelling invites fans to actively participate rather than passively consume, and grows a strong fan base. This all encourages engagement between album cycles as well as generally repeated engagement, raising monetisation and visibility for the band in non traditional ways. The Gorillaz logo is identifiable, clear and is on theme with their other marketing with it being artistically jagged. This reflects the nature of the political commentary within their work, as well as the characters being humanised throughout the story showing they are “rough around the edges” (Google, at some point after google).
To understand Gorillaz’ marketing fully, we must look at their competitors in their market. The most similar are. Daft punk, Deadmau5 and Hatsune Miku who are all similar to them in different ways.
Daft Punk is an electronic duo, who are similar to Gorillaz in terms of strong visual identity. Their helmets and stages make them recognisable which improves the memorability of the band (West, 2020). However, Daft Punk’s strategy is focused on performance, relying on concerts and music videos rather than storytelling. Whereas Gorillaz’ universe extends through animation, comics, mini-games, and social media lore, which encourages fan engagement beyond live performances (Lister et al., 2009; Baker, 2018). While Daft Punk emphasise exclusivity and spectacle, Gorillaz have created fan communities that they can interact with beyond performances which increases accessibility and emotional investment.
Deadmau5 also uses a recognisable visual persona, the mau5head, to create brand identity and capture attention (Solomon, 2018) however, he lacks a wider universe. Fans identify with his aesthetic but engagement to him through storytelling is limited (Hills, 2002). Hatsune Miku is a fully digital Japanese pop idol that engages fans through co-creation and remixing of songs and visuals which is similar to Gorillaz’ encouragement of fan artwork and cosplay (Jenkins, 2006). Miku’s brand is dependent on technology and lacks the genre blending that Gorillaz provides, which widens Gorillaz’ market relevance (Frith, 2021).
In conclusion, Gorillaz demonstrates how a music brand can successfully combine a product with visual design, narrative worldbuilding, and strategic marketing to create a distinctive, multidimensional and flexible brand. Their use of animation and fictional characters set aside traditional branding, enabling a multi format universe that integrates long-term fan engagement with a wide and varied fan onboarding process. By applying Consumer Behaviour Theory liberally, it becomes clear how their diverse pricing strategies, emotional storytelling, and character-driven content appeals to a wide range of consumer bases with differing socio economic backgrounds. The AIDA model highlights how Gorillaz guides audiences from clear and artistic visuals to immersive experiences and active participation. Working in tandem, these methods of marketing and branding reinforce and create a strong global fanbase. Gorillaz exude the efficacy and application of marketing and branding when extended beyond the music alone. Leveraging the multi format nature of the branding and visual story telling aspects, the band creates a compelling and flexible brand ecosystem that helps retain their consumer base between album cycles, increasing visibility and all making them a recognisable brand. This all proves they have good marketing and branding. In my opinion there is not much room for improvement in the marketing and branding Gorillaz use which makes it a case study that limits my ability in my analysis skills.
Baker, L. (2018) Transmedia Worlds in Contemporary Music Marketing. London: Routledge.
Egan, S. (2010) The Art of Gorillaz. London: Virgin Books.
Fill, C. & Turnbull, S. (2016) Marketing Communications: Discovery, Creation and Conversations. 7th ed. Pearson.
Frith, S. (2021) Music and Identity: Politics and Popular Culture. Polity Press.
Gorillaz (2005) Feel Good Inc [Music Video]. Parlophone Records.
Gorillaz (2010) On Melancholy Hill [Music Video]. Parlophone Records.
Harris, J. (2017) ‘Gorillaz and genre hybridity,’ The Guardian.
Hewlett, J. (2006) The Visual Style of Gorillaz. London: Penguin.
Hills, M. (2002) Fan Cultures. Routledge.
Jenkins, H. (2006) Convergence Culture: Where Old and New Media Collide. New York: NYU Press.
Jones, D. (2019) Gorillaz: Identity, Branding and Virtual Performance. Bloomsbury Academic.
Kotler, P. & Armstrong, G. (2018) Principles of Marketing. 17th ed. Pearson.
Kotler, P. & Keller, K. (2016) Marketing Management. 15th ed. Pearson.
Lister, M. et al. (2009) New Media: A Critical Introduction. 2nd ed. Routledge.
Rogan, J. (2017) Lyrics and Meaning in Contemporary Music. Oxford University Press.
Solomon, M. (2018) Consumer Behaviour: Buying, Having, Being. 12th ed. Pearson.
Strong, E. (1925) ‘Theories of Selling,’ Journal of Applied Psychology, 9(1).
Tagg, P. (2012) Music’s Meanings: A Modern Musicology for Non-Musos. The Mass Media Music Scholars Press.
West, S. (2020) Global Music Branding in the Digital Age. Sage.
Z2 Comics (2020) The Gorillaz Almanac. New York: Z2 Comics.
