Tagged: brand communications

Happiness gets a little intense with Coke

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.

GROUP M NEXT research discovers we love music. No really, we do.

groupm-logoI’ve got through January and I feel I avoided BIG DATA as much as possible. Now that February has arrived I think I can be allowed one mention of the BIG D. I am no fan of the marketing concept that is BIG D, for me just having loads of data is fairly useless. Data is an ingredient we need to create insight, what I would like to see more of is BIG INSIGHT. So I was very interested to see that GROUP M Entertainment, Sports and Promotion employed GROUP M NEXT to provide GROUP M with some proprietary insight on how people really quite like music, GROUP M, sorry I think I’ve developed a tick.

So the insight has been delivered in the form of a report called The New Music Model for Brands: How Live Events and Digital are Changing the Sound of Things. I’ll summarise it, people like music, they listen to it loads and they like brands when they help them listen to it. OK it’s a lot deeper than than but I think it is better if you read the report itself, its good stuff. If you don’t have the time just yell out “People like music, GROUP M says so” when you are stuck for something to say in a meeting.

ALL ABOUT THAT DATA: Havas and Universal Music work together to build big spreadsheets

 havas-advertising-newUniversal Music Logo
Welcome to 2015 the year in which music and brands will finally work out who wears the trousers in this relationship. To begin the year we have the news that Havas and Universal Music have agreed to have one leg each.

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:

Havas press release

Adage: Bands and Brands: Universal Music Partners With Havas

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.

Hudl round for some happy sounds

WARNING: ADVERTORIAL (My version of it)

It is rare that I get a chance to showcase creative work that I’ve delivered for a client. As I’m not a musician or sound designer all my work is done in the shadows so I wanted to share this recent work for the new Hudl 2 tablet from Tesco. The device has been getting a lot of rave reviews since it launched a couple of days ago and a lot of them have focused on the physical design, which is impressive. What people have not yet talked about is the audio experience of the new Hudl.

The Tesco Connected Devices team were very thorough in their approach to creating the Hudl experience and left no stone unturned in making sure everything communicated the values of brand and the purpose of the device. A key part to this communication are the sounds that the device makes as it does its thing. Not happy with the stock Android sounds they instead chose to create a unique sound world for the Hudl so that what the user hears matches what they see.

I was lucky enough to work closely with the device development team to create the sound of the Hudl. They embraced the whole process of translating the brand and user experience into sound and with the composition and sound design talents of Paul Sumpter of The Futz Butler we made the Hudl brand sing (and beep). The best thing about it was that rather than explore the safe and the average we were given the freedom to really experiment, you can read more about Paul’s work here and watch a video of him smashing things up in a calm and non-aggressive way.

A lot of the sonic branding created today is bland and generic because while its starting point is one of exploration the end point is usually one of mediation. For the Hudl sonic branding the aim was to simply communicate the brand and with that in mind we were allowed to focus on creativity and values rather than compromise.

I’m really proud of the work and I want to give huge thanks to the Joe and Danny from the Hudl team for their commitment to eating stinky lunches in the studio and allowing us to experiment, Martin Lawless for his amazing insight into the Hudl brand and reflections on the Hacienda days and Paul Sumpter for his superb creative work and comfy packing crates.

The best way of checking out our work is of course to go and buy one and if you want to learn more about how we created the sound of the Hudl or want to know more about sonic branding feel free to contact me.

.

Mop up on Aisle 7. Music and films mess streaming all over the place.

OK the headline is a little harsh but I think it is more fun than the real headline that Tesco are rumoured to be looking to sell or close down their Blinkbox service. As usual in the interests of nothing I should confess that I know a few people over at Blinkbox and I imagine they are not having much fun reading the news in The Times that the new Tesco CEO sees the business as a distraction.

Before we ignore the possible demise of another streaming platform I think it is worth looking at the whether it ever made sense for Tesco to take on little upstarts like Spotify, iTunes, Netflix, and Amazon.

Tesco certainly was and still is a pretty dominant player in music retail. In 2013 Kantar Worldpanel reported that Tesco was the UK’s second largest music retailer behind Amazon. With the demise of HMV and other high street music brands over the last decade the supermarkets have picked up huge chunks of physical music sales and done very nicely out of it. However, nobody remembers who came second and this seems to have been somewhere in the thinking behind Tesco’s foray into digital entertainment services. They started with Blinkbox then they bought We7 and to bring these all together they created the Hudl tablet in a move that replicated Amazon’s hardware and services model.

For me there are a few reasons why Tesco may have not really been the ideal creator of an entertainment brand.

1. Everyone knows Tesco as a physical retail brand. Sure they do online groceries but when people think of Tesco they will always think of massive warehouse sized supermarkets. The main competition in entertainment streaming services are all 100% online brands and therefore consumers are way more comfortable with the idea of these virtual platforms providing them with digital stuff.

2. Do consumers really want the brand that sells them toilet paper to be the one that provides the with their entertainment? Music and films may not be priced as luxury items but on an emotional level they are just that. Entertainment is about escapism and therefore having it provided by Tesco just doesn’t tick many emotional boxes.

3. Tech is a young person’s game. OK we are all now touched by technology. We all have smartphones, tablets and stuff but when it comes to the consumption of entertainment digitally this is still very much the thing of youth, by that I mean anyone younger than me. My point is that if you are a 19 year old looking for a streaming service then do you go with Tesco’s Blinkbox or do you go with Spotify. I know as time marches on more age categories will get into streaming platforms but annual accounts are not about the money you may make in 3 years.

4. Sometimes the big idea is not realistic. Blinkbox is a big idea. Take the biggest supermarket brand in the UK and alongside its march into online retail add a nice service that provides fun stuff and not cabbage. This will of course make the brand feel more digital. Cabbage and U2 mix that well.

I admire Tesco’s attempt to expand its footprint in our lives by offering us nice, shiny, fun things but when the competition is already popular, cool and built in digital from the ground up you have to question the business plan. Of course Blinkbox was in theory a stand alone brand but I’m not sure it ever freed itself of its Tesco parents. Most people saw the brand when they were in a Tesco store, where they could not click a button and combine bananas with Gaga.

I’ll be sad if Blinkbox disappears as I think they have some really great people there who have taken on a mammoth task. Tesco is a brand that now needs to shout function rather than fun if it is to hold onto it No. 1 status. There is a reason Tesco do not sponsor One Direction tours or hold music festivals in Hyde Park, this really is a case where music and brand just doesn’t fit.