Top 11 Tech and SaaS Influencer Marketing Agencies

Ogilvy is a WPP network agency founded in 1948. It takes the top score on this page, and it takes it on breadth: an awards record and a client list that reach across every category an advertiser can buy in, backed by the scale to run several markets at once.

The tech record is thin for an agency this size. Three published campaigns. Instagram's We Make Today reports a nightly campaign audience of 25M. Alibaba Cloud's Your Epic Vibe reports tens of thousands of submitted works and no audience figure at all. The Kingo solar energy access campaign is published with no figures.

So a product marketer gets one number out of three tech cases, and none of the three is a product launch. Two are brand-platform work for technology companies rather than something going on sale, and nothing in the set reports an install, a signup or a return. The 84 is earned on craft, recognition and scale across everything Ogilvy does. It is not evidence in this category.

Edelman is a communications firm founded in 1952 and one of three agencies here taking the top client impact score, 25 of 25. It runs in the same markets as the network agencies around it and its published work is unusually consistent about carrying a result.

Both of its tech campaigns are for the same client. Samsung's Missing Masterpieces reports 1.1 billion earned media impressions and 960 pieces of coverage across 50 countries. Samsung's Wildlife Watch reports more than 1.9 billion media impressions, 7.7M social engagements, more than 172,700 people signed up as virtual rangers, and 94,500 hours watched at an average watch time of 25 minutes.

Which is also the shape of the problem. This is earned media measured in coverage and attention, for one technology client, twice. Nothing published reports an install, a trial, a signup or a sale. A launch team that needs conversion evidence in tech will not find it in two Samsung cases, however large the numbers printed on them are.

Dentsu Creative is the creative network dentsu launched in 2022, sitting alongside its media and customer experience businesses. It ties for the highest creative quality score here at 24, and takes the lowest scale score of the four leaders at nine, because the network itself is only four years old.

Its three tech campaigns are brand campaigns. KPN's A Piece of Me reports a 16% lift in trust, a 9% lift in brand consideration and a 236% rise in conversations. NTT Human Informatics' Interface of Humanity reports more than 2,000 participants, 1.4 billion potential gamers accessed and $2M in earned media value. Intel's Project Athena reports 370M paid media impressions, 14,600 hashtag mentions, a 768% rise in mentions and 90% positive sentiment.

Read the units before the size. The 1.4 billion is an audience the campaign could have reached, and the $2M beside it is a media value the agency calculated. Intel's 370M is paid media impressions, which describes the buy rather than the creators. Dentsu Creative measures brand lift well and measures nothing here that a launch team could set against a pipeline.

YKONE is a Paris agency founded in 2008, built on luxury and travel and now running consumer hardware at the same scale. It matches Edelman on client impact at 25 of 25, and takes four of 25 on recognition, far behind the network agencies ranked above it.

The tech work is large-audience hardware. Samsung's Precision At Scale reports 100M reach, 150M impressions and 5.2M interactions at a 3% engagement rate. Motorola's Sound of Perfection, run on Spotify, reports 67M reach, 100M impressions and 3.5M interactions. reMarkable's Yearly 2025 reports 732M impressions, 2.9M interactions and a 5.5x return on investment.

Two campaigns on this whole page publish a return multiple, and reMarkable is one of them. YKONE prints the 5.5x without saying what it was measured against, so a buyer cannot tell whether the denominator was media spend, total programme cost, or a media value the agency worked out itself. Everything else in the tech set stops at reach and interactions, and there is very little outside recognition standing behind any of it.

Billion Dollar Boy is a social-first creator agency founded in 2014, working from London and New York. It publishes four tech campaigns, more than any agency ranked above it, and takes 25 of 25 on client impact.

Meta's Creators For Causes ran 26 posts from 10 creators for four charities and reports more than 10M video views and more than 7M people reached. Ray-Ban Stories reports 29M potential reach against 1.8M impressions actually delivered and 63,300 engagements. Xiaomi's holiday campaign reports 10.5M reach on the brand's own channels and 14,500 on the creators'. Bose's Spreading Joy reports 23 posts, 121,000 views and 122,000 engagements.

Those last two are the reason to read the whole table rather than the headline. Ray-Ban's biggest number is the audience the creators could have reached, not the one they did. Xiaomi's biggest number belongs to Xiaomi's own channels, and the creator side of the same campaign is a fraction of a percent of it. Nothing in the four reports an install, a signup or a sale.

Open Influence is a Los Angeles agency founded in 2013 with a record built on entertainment launches. It scores 11 of 25 on recognition, which among the independent agencies on this page only We Are Social matches.

Its tech evidence is two campaigns. Uber's Comfort Electric, run on TikTok, reports more than 1.6M views, more than 361,000 engagements and more than 5,000 shares and saves against a targeted following of 2.8M. Bose's Summer Amplification reports 81,900 story views at a 3% engagement rate, which the agency sets against a 1.5% industry average, plus 30% more reach and 20% more impressions than the campaign's own goal.

Neither is a product launch, and the strongest claim in either is that the campaign beat a target the agency set. The Bose numbers are small in absolute terms next to everything else on this page. Open Influence also takes the joint-lowest creative quality score here at 17, so a launch team gets two consumer activations to judge it on and not much else.

We Are Social is a socially led creative agency founded in London in 2008, running from regional offices across Europe, the Americas and Asia. It publishes seven tech campaigns, more than any other agency here, and takes 23 of 25 on creative quality.

Samsung's #VideoSnapChallenge reports 33 billion views, three billion engagements and 7.5M user submissions. Meta's Queens of the Metaverse reports 500M impressions from creators with 30M combined followers. Samsung's Ballads for Buds reports 42M reach and 1.7M organic views. Bose's Get Loud reports 37.3M views on its TikTok mission and engagement 68% stronger than the agency's benchmark. Samsung's #ToTheMakers reports 3.8M social engagements and a three-point rise in brand preference.

Read the client column and seven becomes two. Five of the seven are Samsung or Meta, so the depth is two long relationships rather than seven references. The 33 billion is a hashtag challenge's total across 7.5M public submissions, not delivery from a booked roster. One of the seven publishes no figures at all. Client impact scores 12 of 25, the lowest of any agency on this page.

Socially Powerful is a London agency founded in 2017 that runs always-on creator programmes with local market teams. Its tech record is three campaigns, and two of them are for the same client.

TikTok's launch into Western markets reports more than 500M impressions. A second TikTok campaign, aimed at small businesses, reports 32M views, 2M likes and more than 400,000 new followers, and it is one of very few pieces of business-facing work published anywhere on this page. Xiaomi's campaign reports 20M views and 250,000 clicks, the only click figure in the agency's tech set.

Recognition scores zero of 25, because there are no awards on the record at all. Inside tech the client list is two companies, one of which is a social platform marketing itself, which is a different job from launching a product into a category that already has one. Nothing published names a cost, a signup or a sale, and those 250,000 Xiaomi clicks are as close as the set gets to a downstream action.

Viral Nation is a Toronto agency founded in 2014 that sells enterprise social programmes and social commerce. It publishes two tech campaigns, and both are holiday retail pushes for consumer electronics.

ViewSonic reports 3.8M views, 10.1M impressions, 76,000 clicks at a 2.5% click-through rate and a 142% over-delivery against target. Energizer reports 806,000 views, 832,000 interactions and 4,600 clicks. Both publish a click figure, which most of this page does not, so the reporting at least reaches something a reader can act on.

That is the entire tech record: one season, one brief, two brands. Neither case reaches a sale, an install or a return, and the published portfolio standing behind them is the shortest on this page, which is what holds client impact to 21. A launch team buying outside fourth-quarter consumer retail has almost nothing here to check.

The Goat Agency is a London social agency founded in 2015 running creator campaigns across YouTube, TikTok, Instagram and LinkedIn. It scores lowest here, and it also publishes the most business-relevant tech set on the page.

IBM's Granite campaign ran on LinkedIn and TikTok at a C-suite audience and reports 43M impressions, 9M engagements and 68,000 link clicks. Qualcomm's Snapdragon activation at Coachella reports $422,000 in revenue generated beside 265M impressions, 14M engagements and 98% positive sentiment. Dell's Gift of Time reports a 16% engagement rate and a CPM 65% below the campaign's KPI.

The detail underneath is less flattering. Of IBM's 68,000 link clicks, 59,000 were paid and 9,000 organic, so roughly seven in eight arrived through media rather than creator interest. Qualcomm's $422,000 is published without the spend that produced it, so no return can be worked out from it. And recognition scores three of 25, the second lowest here, so almost nothing outside the agency's own write-ups stands behind the work.