Music is being consumed in more ways than ever before. If you are looking for innovation to drive the bottom line, then music could be the answer. Furthermore, if you can tap into the space where music and technology converge then you will be sure to engage and delight your consumers. First step, make a plan for an integrated innovation strategy that uses music to drive the idea.
“…the drinker is ultimately more connected to the drink, making for an exciting experience that combines flavour with sound.”
Oscar Ocaña, Marketing Director – Johnnie Walker
The key to using music strategically is to use it often, consistently and in line with your audience’s tastes and habits. Use it to drive memorability and recognition in a crowded market-place by adopting our ‘recency, relevancy, frequency’ model.
“It’s always our ambition to continue this tradition by featuring great music in our advertising that people will remember and love decades from now.”
Joe Belliotti, Head of Global Music – The Coca-Cola Company
Sound is everywhere.
Go beyond how you look and feel and begin to harness its power. Make sure you use every opportunity for music and sound to reinforce your brand and its personality. And don’t leave it to chance. Use it to connect and form long-lasting relationships with your consumers.
“Music has played a pivotal role in our stores for over 40 years and we have been at the forefront of how to integrate it into a retail environment.” Together with Spotify, Starbucks has built a differentiated third-place experience with music at the heart of its coffeehouse culture.”
Howard Schultz, Chairman and CEO – Starbucks
When it comes to audio branding there isn’t much that Coke has not excelled at. From its multicultural anthem about buying the world some fizzy pop through its omnipotent open happiness, the vegetable flavoured soda pop has long understood the power of music to sell. So with a new marketing strategy doing the rounds its no surprise that they are dancing to a new tune.
I have no idea what the brief was for this but what they have created feels a little miserable for a brand known for preaching happiness. Rather than worry about whether images of protest communicate joy and togetherness, lets focus on the music. Well my response there is pretty much the same. I’m sure someone will do some nice piece of research that says the new aggressively happy Coke has changed perceptions, reached out to the millennials and made Coke the drink of the bearded wonders but it just doesn’t feel right. Coke is generic and that is not a bad thing, so this attempt to create communications that exclude rather than embrace audiences feels a bit wrong.
I guess you have to admire the bravery but being brave doesn’t make you right.
While we wait for the outcome here’s something that is happy.
SONIC BRANDING: To sing the right song for brands
Here is an article I wrote for BranD Magazine, a bi-monthly publication from Hong Kong that is published in English and Chinese. The next edition is called The Narrative of Art and will be in really really good design and book shops soon. Thank you to everyone at BranD for giving the practice of sonic branding a chance to be heard.
Brands love to make noise. It is in their DNA to try to get as much attention as possible and the easiest way to do this is to shout. The issue is that with so many brands shouting and consumers having greater control of what they listen to, it is becoming increasingly important to shout the right things. As the relationship between brands and consumers becomes more personal, the guardians of brands have woken up to the power of probably the most creative and emotive media available to them; sound and in particular music.
Since the concept of branding emerged, people have all learnt to understand the communicative powers of logos, colour schemes and fonts. Brands have always found it easy to sit down with their colouring pens and knock out the visual assets they need, but when faced with the opportunity to convert visual assets into sound they have often struggled. Why has sonic branding been so difficult for brands to embrace and how can we solve this problem?
To answer the question, we need to know first of all what sonic branding means. Sonic branding can simply be defined as the communication of a brand through the use of sound, i.e. voice, sound effects and probably most importantly music. Here we will focus on music as the main audio platform. The good thing about music is that we all have an instinctive understanding of it whether we are classically trained musicians or, like me, unable to play a single note. Sound is the first sense we develop; while still in the womb we experience sounds and start to develop an understanding of what certain sounds mean. The heartbeat of our mother is likely to be the first sound any of us hear and provides a sense of comfort and security from that moment on. With sound available to us from such an early stage, it is no surprise that our brains are hard wired to interpret it and we never need formal training to understand its meaning.
Now that we have covered some of the science, we can explore the practical power of sound and in particular music as a communication platform for brands. Many people define sonic branding as the creation of bespoke sound for a brand such as sonic logos, short audio interpretations of a brand identity. Probably the most famous of these is the Intel logo created by Walter Werzowa in 1994. Walter’s four notes became as valuable to the brand as their visual logo and for years were a ubiquitous part of television and radio advertising for computers. However, sonic branding is not just four notes. Sonic branding should be defined as any time a brand uses sound to communicate whether that is through advertising, on the phone, in the retail environment, online, the list goes on. When Intel commissioned their sonic logo, there were very few ways to deliver high quality audio to an audience. Therefore, sonic branding was mainly designed for traditional advertising media but as technology has advanced, the opportunities for brands to use sound have expanded.
Recently, mobile phone network Vodafone launched its latest brand campaign called “Firsts”. As you have probably worked out from the title the brand wants to present itself as an innovator, not just in providing new services but also in using those services to help people create, try and enjoy new experiences. As part of the campaign, it teamed up with artist Neil Harbisson who suffers from a condition that he sees everything in black and white. To help him appreciate colour, Neil wears a device attached to his skull that translates the colours into sound. With the backing of Vodafone, Neil visited the Palau de la Musica in Barcelona and “listened” to the colours of the building. Then he composed a piece of music based on colours he heard. He taught a group of musicians and singers how to translate colours into sound in the same way as the device attached to his skull. Then rather than providing sheet music, he gave them connected tablet computers and displayed colours on them to conduct the performance of the piece. This is a great example of how sonic branding has developed over recent years. The core of the concept is based on translating a visual element into sound, something that is often a key part of developing traditional sonic branding. At the same time, Vodafone is using this innovative way to create music to demonstrate its own brand values of being progressive and creative. It is reaching out to its audience with the message that mobile phones are not about handsets and transmission stations, they are about experiences and sharing them.
One of the wonderful things about the Vodafone example is that it provides us with a chance to explore how sonic branding can be used in today’s multi-platform media environment. While Intel had to focus on using their sonic logo on radio and television, today brands can use their sonic branding on almost every available media. The music created by Neil Harbisson could be experienced by a selected audience of Vodafone VIPs in the live environment of the concert hall. This experience could then be broadcast live to cinemas and on television, radio and online. Films about the creation of the project could be made available through the company’s website and video sites like YouTube and Vimeo. The music from the event could be made available through music sites like Spotify, iTunes, Pandora and Soundcloud. Vodafone could create an app allowing smart phone owners to use Neil’s technology to create their own music based on the colours around them. The list of opportunities is endless and all because music is at the heart of it. Music provides the ultimate creative playground for a brand and allows it to engage with an audience through something that is a key part in their lives.
Today sonic branding is no longer limited to the creation of bespoke music for a logo. It has expanded into every opportunity where brands can interact with music and how they can use it to provide an experience to its audience. From sonic logos on advertising to live concert experiences, such as the Red Bull Music Academy, the core idea is to tap into our love of music, our inbuilt understanding of the emotional and rational information it provides and of course that basically music is cool.
Sonic branding may have been around for as long as humans could sing and make drum kits out of rocks and twigs, but it is only now starting to really discover its full potential. We can all expect the next few years to be filled with noise from brands. Hopefully, they will be the good, well-thought-out noise.
The dream of any music agency is to become the single supplier of a massive conglomerate and today Big Sync Music announced they are in dreamland by becoming the exclusive supplier of music services to Unilever.
It is a big step for Unilever, a massive opportunity for Big Sync and a huge challenge for both as of them as they try to herd all their marketing agencies through a single music channel. But as long as the agencies play nicely then Unilever will now be in a position to implement effective sonic branding strategy across countries, territories and the world. It is a bold move for Unilever to commit to a single supplier but a sensible one as they now have the capability to create consistent and efficient identities for their brands and develop music strategies that are global marketing campaigns in their own right.
Exciting and exhausting times ahead for Big Sync Music. Now please wash your hands.
Here is the full story in Music Week.
This one has been bubbling under for a while, since Vincent Bolloré, head of the Bolloré family, the largest Havas shareholder, became chairman of Vivendi, owners of Universal, it seemed like a logical move for both businesses. Whether this was all worked out over dinner at Chez Bolloré, Havas’ chairman happens to be Yannick Bolloré, son of Vincent, or through some in-depth analysis of the music and brand market and a realisation that it lacked a super power, I will never know but it is probably the biggest commitment to cooperation we have seen so far.
So what is it all about? On the face of it and if you read the various press releases the whole thing is about data, lots and lots of data, I’m not going to say BIG DATA (doh!) as that is so 2014. They have even managed to sneak the word data into the collaboration’s name – THE GLOBAL MUSIC DATA ALLIANCE – which I think should be shortened to GLOMUDA for no real reason. There is loads of talk about combining all the numbers that both sides gather on their audiences and using them to work out better ways of combining music and brand to everyone’s benefit. At this stage then the focus is very much on building some really enormous databases and working out some spectacularly complicated algorithms to make sense of them. This kind of analysis will help prove the case for music and brand relationships of all shapes and sizes and I guess it will not be too long before GLOMUDA (trademark pending) becomes self-aware and Ed Sheeran is being hunted down by a cyborg from the future.
For music and brand geeks the GLOMUDA is an exciting project between two real powerhouses in their industries with the very highest level of executive backing. Where I think the real potential for this relationship will be is in a year or two’s time, once they have enough data to create accurate insight into music and consumer trends. If they take this insight and use it as a starting point for some outstanding and innovative creative work then Universal and Havas could be building a market leading platform. But it is just the starting point, both sides will also need to invest heavily in creative talent as translating insight into inspiration is the true key to success.
In the past partnerships like this have not worked as one side saw it as a bit of fun while the other considered it a way to get someone else to pay the bill. This partnership, however, could change that simply because of its scale, the board level support should ensure that the Havas agencies function collectively rather than competitively when it comes to music projects while Universal has a pretty progressive view of brand relationships. Plus if all else fails Mrs Bolloré can always step in and sort things out.
So to start 2015 we have a biggie and one that we will need to observe throughout the year, if anything so we can see what impact GLOMUDA has on Music Dealers (Havas) and Globe (Universal).
Here are links to the Havas press release and coverage in AdAge:
UPDATE: Well it didn’t take long for someone to ruin my BIG DATA avoiding 2015. This article on mediajobs.com gives a more cash focused reason for why HAVAS + UNIVERSAL = DATA, DATA = CASH.