Big Fish had worked with Lyle & Scott on the sponsorship of Ibiza Rocks for 2 years. Lyle & Scott decided that they wanted to look at finding a music property which allowed them; more visibility, more ownership over content, direct artist access, the chance to position themselves as a relevant music focused audience. In response, Big Fish created the concept 'Curated by Lyle & Scott', which would see the brand present a series of shows with contemporary artists which were relevant to consumers. After the success of the first series, a second series ran the following year.

-Drive traffic online to Lyle & Scott's social media channels and website, to interact with this audience. -Discover emerging talent to act as Lyle & Scott brand ambassadors. -Target Lyle & Scott vintage target market: 16-23 year old male/female

'Curated by Lyle & Scott' (CBLS), a series of gigs featuring handpicked venues and artists. CBLS ran in 2 separate years, each featuring 4-5 shows in London and regionally. CBLS featured top emerging talent, one headliner and one support artist, alongside competition winning bands. Working with Metropolis Music, one of the UK's biggest live promoters, ensured maximum promotion and social media exposure locally and nationally. Original video content was created and broadcast on Channel 4, receiving national exposure. We also enlisted a PR agency to maximise press exposure.

There were 4-5 sold out shows in each series, a total of 3000 guests across both years. Channel 4 televised 3x 15 minute broadcasts of 3 of the gigs, securing total viewing figures of 409,000, far extending the reach of the series. Social Media exposure was achieved through multiple channels,; a total of approx 595,000 Facebook users and approx 241,000 twitter users were reached. Lyle & Scott formed a music legacy. The shows helped to break artists whom were unknown, but have gone on to mainstream success, notably including; Alex Clare, Disclosure, Spector and Tribes.

Even though these were branded events, Lyle and Scott built a reputation for hand picking talent which appealed to the target audience. This allowed the gigs to have a level of authenticity which can difficult to create around branded events. The popularity of the series was demonstrated through shows where the audience queued around the block to gain admittance. This popularity assisted in selling the series to broadcasters in year 2, as they were already familiar with CBLS from year 1.