The AIDA model is the theory behind this release. The AIDA model is a four part model split into awareness, interest, desire and action, the four cognitive stages one goes through when buying a product/service (Hanlon, A. 2025). Awareness is how the brand creates attention for itself, achieved through materials such as adverts and social media. Once a potential customer is aware of the brand, they then need to be interested enough in the benefits of the product/service in order to research further. The customer then needs to feel a desire through an emotional connection to the brand to make a purchase. This moves the consumer from liking the idea of your product, to wanting to purchase it. Action is one of two final steps, where the consumer interacts with the product. In this case, that comes in a range of actions, from following the band on social media, to buying a ticket to a gig. Some marketers add “Retention” to this model, which is certainly pertinent here. Retention comes in the form in continued action from the customer, in this case, creating a “fan” who regularly interacts on social media and attends gigs.

This logo is a mock-up as potential inspiration to send to graphic designers as inspiration for a future logo. Minimalist and striking, this logo suits the band’s dive into alternative and experimental music. It is transferable to any size and colour scheme, making it endlessly useful for any poster or social media post. The style of font, and the eye in the logo itself are inspired by 90’s grunge and psychedelia, however the hand-drawn nature of the logo portrays a theme of contemporaneity, freshness and authenticity. The circular shape makes it perfect for a profile picture on any social media account.

The next focus for the band is a filmed live set. A live set calls for personal interest in band members, and how the music is performed in person. Showcasing the quality of the band’s live output and presence, will naturally help boost ticket sales for live gigs, and the lack of completely polished studio recordings will leave the average fan wanting more. The inspiration behind this comes from platforms such as KEXP, triple j and NPR music, all of which host live sessions to promote artists. A recent example of this working in the industry is Angine de Poitrine, with their early 2026 performance on KEXP going viral, with around 14 million views and counting (KEXP, 2026). The AIDA(R) model is very much on show here. By displaying their unique musical style and performance presence, which includes huge polka-dot costumes, and a double-necked microtonal guitar, the duo immediately secured attention, or “awareness”. The 14 million-time viewed set sits at around 28 minutes in length, displaying the interest from viewers in their music, alongside a desire to see them live. This desire is shown in Angine de Poitrine’s huge European tour, as fans have taken action, selling out shows in Leeds, London and Bristol on their first visit to the UK (Simpson, 2026). This performance also helped the band promote their second album, “Vol.II” (Angine de Poitrine, 2026), released in full around two months after. The album became a huge streaming success, with the lead single “Fabienk”, released a day after the KEXP performance, reaching almost 9 million streams on Spotify. Track three, “Sarniezz” currently sits on almost 5 million streams, with its fame acquired in full from viral clips on social media, as it was not released until the full album was dropped, demonstrating audience retention.

As successful as Angine de Poitrine have been, their aesthetic doesn’t exactly line up with that of OffHand’s. Radiohead, a 90’s experimental band, whose aesthetic lines up with the nostalgia marketing aims of OffHand, have their own live set on YouTube. “Radiohead – In Rainbows From The Basement (April 2008)” is very much a template for what the final product of OffHand’s live set should look like. Every frame of this show is dark, and intimate with the red carpet cutting through to add some edge. The band stand in a circle, and the wide angle shots are close to the band members, which is effective in adding a sense of togetherness, as if the viewer has walked in to a “jam session”. These are visual inspirations that can be replicated for the band.

This is how OffHand will structure the rebrand and live set release, based on the AIDA model. This plan begins on the 1st of June, when the band begin rehearsals. By the 1st of June, OffHand will have finished work with a graphic designer to complete the visual resources needed for the rebrand. The band will have a week of rehearsals before recording the live session, and a producer will immediately begin working on mixing the tracks and video. In the same week of the recording, the band will complete a photoshoot, with the photographer having a week to edit the photos. With all these resources, the current TikTok, Instagram and Youtube accounts can be rebranded to OffHand, with new promotion pictures of the band and graphics. Around a week after, OffHand will announce they are playing a lead support for the band “Sisters” at Quarry, Liverpool on August 8th. According to Patchboard (2020), 20% of tickets for local gigs sell in the first 2 weeks of release, and a further 50% in the last two weeks before the gig. The structure of this plan ensures that the key moments of promotion happen in these time periods. By this point, it has been a month since the recording session, and at least one song from the live session should have been completed. Teasers from the set, and clips from one song will start to drop across TikTok and Instagram, followed by the entire song on Youtube. With the rebrand, followed by a gig announcement and teasers, OffHand will simultaneously be grabbing attention, and generating interest in their proposal. This process will repeat again for a second song, a week before the release of the full live set on Youtube on the 3rd of August. It is now a week before the rebrand debut gig in Liverpool. Interested viewers have seen 4 live songs online, peaking their interest just as a gig comes up, and causing a significant increase in ticket sales.

These are the projected costs for this strategic marketing plan. As this is a band in the very early stages, multiple measures have been taken to cut costs where possible. OffHand have previously worked with a graphic designer, who will create a new logo and fonts for a £30 flat fee. A fellow student at Leeds Conservatoire with the band, on the production course, has stated that they will mix and master the audio of the live release for £75 flat fee. Members Dani and Lola have extensive experience in video editing, therefore the promotional clips, as well as the full live video will be edited by them. Photographer Max (morts35mm, 2025) has worked with Offhand before, and has agreed to do a short photoshoot and edits, in return for a guest list spot for the Liverpool gig on August 8th. A £25 budget has been set for fuel expenses to get from Leeds to Liverpool and back. For the gig itself, the band have negotiated a £75 flat fee, allowing them to recoup some of these costs.