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The purpose of this paper is to understand mobile device (MD) use in a festival context. Festivals offer a range of opportunities and activities to use a MD making this context ideal for understanding digital experiences during leisure. The guiding research question asked how do festival attendees use MDs at festivals. The Typology of Human Capability (THC) provided a framework to enhance the understanding of digital experiences at festivals.

This research involved six festival case studies where semi-structured interviews were conducted with attendees on-site. Interview questions focused on how festival attendees used MDs during the festival. Data were analyzed using directed content analysis guided by the THC.

On-site interviews with 168 attendees revealed that data support the THC dimensions and constructs (sensing, linking, organizing and performing). This typology advances the understanding of the range of digital customer experiences currently available at festivals.

The addition of context to the THC is recommended to enhance its utility in application. As a limited number of festivals were included, the specific findings may not apply to all festivals but the implications are relevant to a range of festivals.

Operational definitions of the THC constructs within the festival setting were identified and provide opportunities for developing digital experience offerings.

This study provided the first comprehensive examination of MD use in festival contexts and in so doing offered data in support of Korn and Pine’s (2011) THC. The findings reveal opportunities for modifying the THC to increase its applicability in a range of settings.

This study aims to shed light on the evolving nature of banks in the digital era and the implications for bank marketing and management. The research addresses the need for a comprehensive typology of banks that integrates fintech and explores how traditional and app-only banks strategically position their brands. The key argument is that understanding the changing landscape of banking and the impact of technological advancements is crucial for banks to navigate the challenges and opportunities presented by fintech and digital transformation.

This study examines literature and practices to develop a typology of banks, describing their characteristics, strengths, weaknesses and providing examples. It also proposes new research agendas for scholars and practitioners in the field.

This paper introduces a typology of banks based on their adoption of fintech and digital technologies. Three distinct types of banks are identified: Traditional banks adopting FinTech (TBAF), Traditionally Driven Neo Banks (TDNBs) and Digitally Driven Neo Banks (DDNBs). TBAF are traditional banks that have embraced fintech solutions to enhance their operations and customer experiences. TDNBs represent a hybrid model, combining the trusted brand and infrastructure of traditional banks with the digital capabilities and agility of neo banks. DDNBs are purely digital banks that operate exclusively online, offering innovative and user-friendly banking services.

This study is a pioneering work that classified banks based on their utilization of fintech and digital technologies. The study provides a typology of banks based on fintech adoption, offering valuable insights for bank managers, policymakers and researchers. The research also outlines a research agenda, suggesting future investigations to further enhance understanding of the evolving banking landscape and its implications.

The author explains how networked interaction, propelled by the internet and the forces of digitalization, ubiquitous connectivity, globalization and social media has become the new locus for creating value. And how that networked interaction is accelerating the shift of value creation towards the experiences of individuals who want to define choices in a manner that reflects their view of value and their own expressions of personalization. 10;

The article explains that every enterprise is now faced with the challenge of learning how to create valuable impacts of experienced outcomes through smarter, connected offerings and the networked interactions of individuals.

Instead of having fixed economic value, offerings are increasingly a means for the dynamic creation of experience value through ongoing and new types of networked interactions.

Rather than simply elevating the user experience of a good or service, the co-created experience itself becomes the product.

The Starbucks and Burberry examples suggest how offerings are being enhanced by interactive technologies that open up new sources and avenues of experience value creation. The article explains how any enterprise can now adopt a strategy of ‘capabilities as a service’ by innovating its own ecosystems of customer and stakeholder experiences.

Several high street retail banks are extending their brands into digital banking through fully digital, app-only neobanks, which have been described as traditionally-driven neobanks (TDNBs). These TDNBs are considered a form of brand extension, representing the increased complexity of branding banks and financial institutions. This study explicitly addresses the branding strategies employed by TDNBs.

This study has adopted a case study research design, using a multi-stage data collection strategy. Initially, interviews were conducted with bank managers, followed by interviews with customers. Later, user-generated content was extracted through verified reviews from the app store. Subsequently, these three strands of data were thematically analysed and triangulated, in order to gain a holistic understanding of the branding strategies used by TDNBs.

Three key themes emerged regarding the branding strategies of the TDNBs: aligning with the parent brand, reinforcing the digital experience, and enhancing the brand image.

This study contributed to the growing body of research on marketing, branding, and digital transformation of bank services. As more traditional banks are exploring opportunities to pivot and explore other fintech options, this study offers significant insights that will help in managing brand experience and promotion across customer journeys in the banking sector.

This study contributes to the growing body of research on marketing, branding, and digital transformation of bank services. Even as more traditional banks explore opportunities to pivot as well as other fintech options, this study offers significant insights to help manage brand experience and promotion across customer journeys in the banking sector.

While previous studies on banking and financial services have concentrated on traditional retail and high street banks, there is a need for a greater understanding of the brand positioning of digital banks, especially those created by traditional banks.

This paper aims to offer a new experience innovation framework to identify new customer value and develop potential new business models.

The framework, a Typology of Human Capability, illuminates the potential uses for digital technology across four dimensions of human experience.

When exploring the frontiers of discovery and innovation, the Typology of Human Capability can be a useful guide to innovation opportunities.

Digital technology enables new‐to‐the‐world possibilities for the delivery of emotion‐evoking experiences by an ever‐broadening array of methods that engage our human senses through endless sights, sounds, and other sensations.

Viewing value creation possibilities with the typology in this paperhelps companies tap the infinite possibility inherent in today's digital technology. Understanding this linkage between technology, human capability, and value creation can boost a firm's creative capabilities.

Digital technologies create myriad innovation opportunities and have inspired the establishment of many new start-ups in recent years. Despite the growing knowledge on digital entrepreneurship, few studies explore how start-ups exploit these opportunities to achieve entrepreneurial success. The purpose of this paper is to explore start-ups’ capabilities for successful delivery of digital artefacts in a cloud computing infrastructure.

Empirical data were collected during a qualitative case study of an established start-up in the Chinese market by interviewing 41 interviewees. Informed by the notion of dynamic capabilities and using the Gioia methodology, the case firm's life cycle was analysed in detail.

The study identifies start-ups’ ordinary and dynamic capabilities for successful development and delivery of digital services. The findings provide insights into a portfolio of start-ups’ capabilities, namely adaptation, networking, reengineering and refinement.

The study suggests that start-ups’ capabilities and underlying entrepreneurial actions determine the degree to which adoption of digital technologies create and transfer value to customers. The study offers specific insights into how start-ups successfully develop and deliver digital artefacts in a cloud infrastructure based on entrepreneurs' prior expertise, vision and accumulated experience.

Microsoft's Office team was developing the marketing communication plan for its new product, Office 2007. Office was a very mature product and several versions of the product had been introduced over more than 20 years. As such, the new version had to overcome the consumer perception that the versions of Microsoft Office that they already have are “good enough” for them. The Office 2007 marketing team has come up with a two-step campaign strategy that sought to first create awareness and intrigue using traditional media, followed by the heavy use of digital media to get consumer to experience the product through different types of “digital experiences.” The team needs to decide how much of its advertising spending it should shift from traditional media to digital media, how to design the most effective digital experiences and how to measure the effectiveness of digital experiences. The case is set at a time when digital media were emerging as a promising way to engage consumers more deeply with brands and products, but marketers were uncertain about the relative effectiveness of different digital marketing tactics and the optimal mix of traditional versus digital marketing channels for different product, market and campaign contexts.

To introduce students to the possibilities of “engagement marketing” using emerging digital marketing channels To emphasize the complementary nature of traditional versus digital media and their relative effectiveness at different stages of the consumer journey from awareness to perception change to behavior. To highlight the opportunities and opportunities in designing and measuring the effectiveness of integrated marketing campaigns when digital channels are added to the marketing communications mix.

This paper responds to a range of theory and industry reporting, to provide an informed narrative which explores the current state of accessibility at UK festivals for people who are Deaf or disabled and the potential implications of developments in ICT for enhancing design, marketing, operations and performances across all phases of festival delivery, in order to improve inclusivity and accessibility. To this end, the paper addresses the following question: What do representatives of the UK live music industry perceive as barriers to accessibility and exemplars of current best practice for music festival attendees who are Deaf or disabled? What do representatives of the UK live music industry consider as the role of ICT to increase accessibility for music festival attendees who are Deaf or disabled?

Primary research focused on supply-side considerations with a sample group of 10 UK live music industry professionals. The scope of the research was limited geographically to England and by artform to open-air music festivals, venues which host some music festival provision and a Sector Support Organisation. Open questions elucidated qualitative information around; awareness of accessibility and inclusivity initiatives; potential for co-creation; non-digital improvements; current technological influences; and potential digital futures for accessible “live” experiences. A conceptual framework was constructed and semi-structured face-to-face interviews were carried out with six respondents, and four respondents completed a structured, self-administered e-mail questionnaire.

Findings include: ICT can facilitate enhanced dialogue with existing and potential audience members who are Deaf or disabled to both; reduce existing social exclusion (Duffy et al., 2019) and improve the visitor experience for all attendees. All respondents agreed that physical enhancements are important and some mentioned communications and customer care. Respondents reported increasingly ambitious usages of ICT at music festivals, which may support suggestions of a virtual experience trend (Robertson et al., 2015). Online ticketing systems have potential to grant equal functionality to people who are Deaf or disabled, as recommended by the Department for Culture, Media & Sport (2015). Respondents broadly welcomed the potential for positive impacts of ICT on increasingly accessible live experiences at music festivals which retained a sense of authenticity and “liveness”. Challenges around “as live” ICT-derived experiences were identified including risks of creating second-class experiences for Deaf and disabled attendees.

The limitations of this case study include the small sample size and limited scope.

Promoters should: consider further developing the co-creation of accessibility initiatives, utilising ICT to both deliver improvements and engage with potential audience members who are Deaf or disabled. Seek to pro-actively recruit staff members who are Deaf or disabled and significantly increase their programming of performers who are Deaf or disabled. Consider reviewing their ticketing processes for music festivals, to identify accessibility challenges for audience members and implement appropriate ICT-based solutions. Consider maximising accessibility benefits for audience members who are Deaf or disabled from existing ICT provision on site and explore additional bespoke ICT solutions at music festivals.

Adopting the best practices described across the festival sector may improve inclusivity for disabled people at music festivals and other events. Event management educators should consider reviewing provision to ensure that best practice is embedded around accessibility for audience members who are Deaf or disabled. Additional public funding should be provided to drive ICT-derived improvements to accessibility for audience members who are Deaf or disabled at smaller-scale music festivals. Further research should be considered around inclusive approaches to digital experiences within a music festival environment for audience members who are Deaf or disabled and tensions between accessibility and notions of “liveness”.

The “snapshot” of digital aspects of accessibility at UK festivals within this research is of particular value due to paucity of other research in this area, and it's narrative from varied industry professionals. The paper makes recommendations to promoters, academics and public funders, to attempt to advance inclusion (or at least to mitigate current exclusion) and identify directions for future research into accessible digital experiences at music festivals for people who are Deaf or disabled.

In response to the cancellation of a host of events during the summer of 2020, the purpose of this paper is to examine the rapid innovation that created an online County Show. County Shows are traditionally associated with agriculture and the wider rural economy of a region and provide a range of visitor experiences alongside business networking and trading opportunities. The case of the online Lincolnshire Show sought to replicate many aspects of a physical show, and this paper evaluates its effectiveness by applying a newly developed e-eventscape model.

A mixed-methods approach generated data from businesses, visitors and the show organiser. Surveys and social media feedback from attendees captured overall satisfaction levels and suggestions for improvements. Participation in the online Business Breakfast event along with an interview with the chief executive officer (CEO) of the Show provided deeper understanding of the innovation occurring.

The nature of innovation was strongly rooted in place, despite creating a virtual product. Local networks and supporters were critical to staging the online Show. The proposed e-eventscape model allowed an effective appraisal of the online Show, identifying many strengths in terms of the user interface and aesthetics as well as opportunities for improvement, especially linked to greater interactive engagement.

The impacts of coronavirus disease 2019 (COVID-19) have accelerated digital innovation in a range of events and festivals. This provides an opportunity to examine the evolving role of Shows in the rural economy and the innovation processes that have emerged. As well as presenting original insights into rural innovation, the paper develops and tests a new e-eventscape model applicable to the growing field of online events and festivals. Findings indicate that there is considerable scope for organisers to embed online content into the future of many live Shows and festivals, far beyond the COVID-19 pandemic.

This study explores the multi-phasic experience of festivals to understand the nature, purpose and degree of social media (SM) use before, during and after festival occurrence and how this may inform better engagement of attendees.

A census of tweets and posts from four festivals’ Twitter handles and Facebook accounts were coded and analyzed across three time points: one week prior, during and one week after the festival. They were coded on nature (e.g. conversational, promotional, informational), purpose (e.g. information-seeking, friendship/relationship) and presence of links, photos, etc. Tests for platform influences on usage were conducted.

In total, 1,169 tweets and 483 posts were captured. Two-thirds of SM activity occurred during the festivals, one-third pre-festival and minimal activity post festival. Temporal analyses found that while the purpose and nature of the message content varied across festival time points, this was often dependent on SM platform.

Festivals are not taking advantage of the multi-phase experience model and the utility of SM to maintain contact and encourage visitors to continue processing their experience after the festival. This lost opportunity has implications for re-patronizing behaviour and sponsor relationships.

Leung et al. (2013a) call for sector specific research to elucidate SM use in tourism. Festivals provide a unique environment of co-created experience. Findings suggest differential usage of SM across festival time frames and platforms that can be used to guide festival organizations’ SM communication to better engage its patrons.