Listening, commercials, social involvement: in recent years the battleship Sanremo has broken all records and is preparing to raise the bar again.
The challenge of the Amadeus quater, which kicks off on 7 February, is to replicate or exceed the historic score of 2022, with an average audience of 11 million 265 thousand viewers, equal to a 58.4% share, over 88 million video on demand and 33 .6 million social interactions.
And an advertising revenue of 42 million euros.
THE ADVERTISEMENTS - Rai Pubblicità is already rubbing its hands: the accounts are made in the end, but it is expected - also given the 28% increase in the average price list for the table - that the festival will be filled with adverts, with 50 million euro: "We are on the right track", said CEO Gian Paolo Tagliavia, confirming the estimates of the Sole 24 Ore.
VIEWERS - On the viewership front, the most watched show of the year now has an impact extended over time: alongside the 'addicted' ready to hangover, it enjoys a thousand minutes of live broadcast (last year the average duration of the evenings was 237 minutes) , Sanremo is increasingly followed also on RaiPlay.
"Only the final - explains Francesco Siliato, data analyst in the sector and partner of Studio Frasi - last year generated 7 million 800 thousand clicks. In total, the 2022 festival reached 644 thousand hours of overall viewing, for an average of 14 minutes which is a very high".
The weight of social cohesion is also notable, i.e. the 'similarity' between the audience of a TV broadcast and the entire population: "Last year - recalls Siliato - the final reached 90.85%. It will be necessary to evaluate the
possible impact of the protest against Zelensky's presence". From a technical point of view, he adds, "there are two other changes to keep in mind: in January the 'not recognized' by Auditel, i.e. the number of people who have not watched TV live, it was close to 2 million and 21% of the audience.
Some of these will definitely come back to follow the Sanremo event.
And then there's the Mediaset factor, which this year is not disarming the programming, confirming in particular You've got mail, the only show that exceeds 4 million, on Saturday evenings.
Studio Frasi has estimated that in January the 'dynamic target', i.e. the people who followed the Sanremo 2022 final (overall followed by 13.3 million viewers) and watched Maria De Filippi's show last month, corresponds to 2.7 million.
SOCIAL - Numbers in hand, the 2023 edition is on the way to becoming the most social ever.
Chiara Ferragni, the digital entrepreneur that the artistic director wanted beside him for the first and last evening, can count on 28.5 million followers on Instagram alone.
Among the artists, Marco Mengoni is close to 5.9 million followers on social networks (Facebook, Twitter, Instagram and TikTok), Ultimo has 4.8 million, Elodie just over 4 and a half million.
And then the Modà (3.2 million), Giorgia (2.7 million), Lazza (1.9 million), Levante (1.6 million), Madame (1.5 million).
And Article 31 and J-Ax reach 7.7 million.
Even if followers do not automatically mean votes, it is clear that social media will play a central role.
Digital marketing and strategy firm DeRev - which monitors the
effectiveness of social communication based on the number of followers, interactions and posts - with Ultimo in the lead, with an average engagement of 1.22%, strengthened by the presence of Eros Ramazzotti on the duets evening: 7.6 million online fans, the majority on Facebook;
in second place Mengoni, in third place Lazza with an engagement of 1.62% and the hope that Emma (12 million fans), his partner on the covers, will back him up online.
Compared to 2022, the weight of TikTok has grown above all: last year most of the artists were not there, this year they are all there "and someone - DeRev points out - with no small engagement".
The same festival landed on the platform: in January, followers increased rapidly, with engagement peaks of 45%.
interactions and posts - puts Ultimo in the lead, with an average engagement of 1.22%, strengthened by the presence of Eros Ramazzotti on the duets evening: 7.6 million online fans, most of them on Facebook;
in second place Mengoni, in third place Lazza with an engagement of 1.62% and the hope that Emma (12 million fans), his cover partner, will support him online.
Compared to 2022, the weight of TikTok has grown above all: last year most of the artists were not there, this year they are all there "and someone - DeRev points out - with no small amount of engagement".
The same festival landed on the platform: in January, followers increased rapidly, with engagement peaks of 45%.
interactions and posts - puts Ultimo in the lead, with an average engagement of 1.22%, strengthened by the presence of Eros Ramazzotti on the duets evening: 7.6 million online fans, most of them on Facebook;
in second place Mengoni, in third place Lazza with an engagement of 1.62% and the hope that Emma (12 million fans), his partner on the covers, will back him up online.
Compared to 2022, the weight of TikTok has grown above all: last year most of the artists were not there, this year they are all there "and someone - DeRev points out - with no small engagement".
The same festival landed on the platform: in January, followers increased rapidly, with engagement peaks of 45%.
6 million online fans, mostly on Facebook;
in second place Mengoni, in third place Lazza with an engagement of 1.62% and the hope that Emma (12 million fans), her partner on the covers, will support him online.
Compared to 2022, the weight of TikTok has grown above all: last year most of the artists were not there, this year they are all there "and someone - DeRev points out - with no small engagement".
The same festival landed on the platform: in January, followers increased rapidly, with engagement peaks of 45%.
6 million online fans, mostly on Facebook;
in second place Mengoni, in third place Lazza with an engagement of 1.62% and the hope that Emma (12 million fans), her partner on the covers, will support him online.
Compared to 2022, the weight of TikTok has grown above all: last year most of the artists were not there, this year they are all there "and someone - DeRev points out - with no small amount of engagement".
The same festival landed on the platform: in January, followers increased rapidly, with engagement peaks of 45%.
last year most of the artists weren't there, this year they're all there "and some - DeRev points out - with considerable engagement".
The same festival landed on the platform: in January, followers increased rapidly, with engagement peaks of 45%.
last year most of the artists weren't there, this year they're all there "and some - DeRev points out - with considerable engagement".
The same festival landed on the platform: in January, followers increased rapidly, with engagement peaks of 45%.
MUSIC - Sanremo is also a bargain for the record market.
With Amadeus in command, the weight of the festival on the annual turnover of record companies - according to Fimi estimates - has gone from around 1.5% to 2.5% in 2022. Last year the songs from the festival exceeded 880 million streams (+48.2% compared to 2021);
from 2013 to 2022 the number of platinum records achieved by the singles in the competition grew by 357%.
This year, then, the cast is 'all star': the number of platinums held by the artists grows by 21%, from 280 in 2022 to 340 in 2023.
