EXPERIENTIAL MARKETING IN THE MUSIC INDUSTRY: TRANSMEDIA STORYTELLING AS AN ENGAGEMENT STRATEGY. CASE STUDY: ATEEZ (KQ ENTERTAINMENT)

Abstract

The music industry has changed considerably over the past two decades. Since streaming became the dominant format, recorded music alone has not been enough to support most artists financially, and both artists and labels have had to find value elsewhere. This study looks at how transmedia storytelling works as an experiential marketing strategy in this context, using ATEEZ, a South Korean group managed by the mid-sized label KQ Entertainment, as the main case. The theoretical framework draws on Pine and Gilmore's experience economy, Schmitt's Strategic Experiential Modules and Jenkins's theory of transmedia storytelling. The empirical analysis combines publicly available engagement metrics collected between January and May 2026 with qualitative analysis of fan discourse and a comparison against three fourth-generation groups from major companies. The metrics include YouTube and Spotify data, physical album sales from Hanteo and Circle Chart, Billboard chart positions and tour revenue figures. The qualitative sources include YouTube comment sections, Reddit threads and fan-maintained wikis. The results show that ATEEZ's transmedia universe, maintained consistently since their debut in October 2018, produces a kind of audience engagement that is analytical, cross-referential and active between release cycles. This translates into commercial results unusual for a group without major-label infrastructure: two Billboard 200 number ones, six consecutive million-selling albums and over 73 million dollars in touring revenue. The study concludes that transmedia storytelling, when maintained over time, produces advantages like catalog longevity, organic promotional