When my sister and I were little we used to write a letter to our future selves and leave it in the Christmas decorations, ready to be opened and read the following year. This year, can anybody remember their plans and intentions from 2019? 2020 seems to have changed everything.
With much of the public I’m sure feeling similar, brands have faced ongoing strategic decisions about messaging and how to relate to their audiences this Christmas. I spoke to some of the music folk behind this year’s campaigns, in a year where the power of music continues to snowball.
TESCO / “No Naughty List” (BBH London)
Track: ‘Oops!… I Did It Again’ – Britney Spears
Interview with Hywel Evans (Black Sheep Music, BBH London), Lucy Moody (Strategy Director, BBH London) and Steve Hall (Associate Creative Director, BBH London)
Unlike other brands, Tesco chose to speak to their customers’ experience of the pandemic this year. Why was this important to Tesco?
Lucy Moody: We felt it would have looked tone deaf to not acknowledge the pandemic and what customers have been through this year. As the nation’s grocer we pride ourselves on listening to and reflecting the lives of our customers and in doing this we know how best to help. After the year our customers had been through, it was important for us to offer some light relief in our comms this year by playing back some of these universal and reliable truths in a way that felt fun, joyful and hopefully put a smile on people’s faces.
Tell us about the creative vision for the film and working with your collaborators.
Steve Hall: We desperately wanted to create a film that was funny and light-hearted. Nobody wants a dreary Christmas ad, especially after this year. But we also wanted to acknowledge the pandemic. So, that became the challenge. Once we had a script that struck the right balance it was a case of finding the right director, styling and track to make the film as joyous as possible.
“We desperately wanted to create a film that was funny and light-hearted. Nobody wants a dreary Christmas ad, especially after this year.”
– Steve Hall, BBH London
What did the initial brief look like and how was the music intended to support the message of the ad?
Hywel Evans: The music brief was for something to support the ‘no naughty list’ message and that also matched the tone of the campaign – something fun and well known that would provide some light relief after a difficult year. We approached this at Black Sheep Music from lots of different angles: good-ness & bad-ness, mischief & misbehaviour, guilt & innocence, rebellion & compliance etc. etc. Basically the same way as we approach any lyrical search – thinking of lateral and interesting ways into the idea.
How did you land on ‘Oops!… I Did It Again’? Who did you work with on clearing the track?
Hywel Evans: ‘Oops!…’ came up after a few rounds of searching. The great thing about a campaign like this is that you get to live with a brief for a while rather than trying to turn round a search in a couple of hours. Ideas can come to you naturally. I think I was thinking about ‘innocence’ and this fragment of lyric popped into my head. It’s always a good sign if a flash of inspiration makes you smile, and this one did. It seemed to have the right balance of cheekiness, message and recognisability. But music is so subjective, and there are so many stages of decision making within the agency and client that you’re never sure if a track submitted in a search alongside another couple of dozen options will get picked out.
We worked closely with Angus at Concord, Alaine at Kobalt, and Andrew and Ian at Sony on the clearance. They’re all fantastic and approvals came through as quickly and as painlessly as we could have hoped for. Sometimes clearances can be a bit of a scramble but this one was a joy! We’ve asked a lot from rights owners this year on Tesco, in particular the crazy production turnarounds of the films made during the first lockdown. Everyone’s been so supportive and understanding and we wouldn’t have been able to deliver the results for the client that we have without them. We’re extremely grateful to all our friends and colleagues across the music industry.
BODYSHOP (in partnership with Channel 4) – “Unseen Kingdoms” (TCO London)
Tracks: 2 tracks by Esther Joy Lane and Dream Alisa
Interview with Hollie Hutton, Co-Founder and Music Supervisor at SISTER Music
The Body Shop’s Christmas ad is a collaboration between a few organisations and individuals. Can you tell us a bit about the collaborators?
Unseen Kingdoms is a documentary film series that explores what it means to be young and homeless. It shines a light on the impact homelessness has on young women, and provides a platform from women to share their stories and reclaim their narratives through spoken-work poetry. The series was created and produced by TCO London for The Body Shop for their first ever Christmas TV campaign and in partnership with Channel 4.
Tell us about the music on the spot: What was the initial brief?
This project shines a light on homelessness faced by women across the country. It was created by all female contributors and an all female crew so the team really wanted to continue this thread through with the music. At Sister we are passionate about nurturing up and coming female compositional talent so it was a perfect partnership for us. We were told early on that the tone of the TVC is very much empowering and inspirational rather than of sadness or pity so we wanted the music to really help enforce this. Since the music was to be played under Spoken Word it of course needed to be instrumental and not too distracting whilst helping to support the message.
“It was created by all female contributors and an all female crew so the team really wanted to continue this thread through with the music.”
– Hollie Hutton, SISTER Music
How did they come to use two tracks and who are the artists?
During lockdown we had already been working with female composers to write music for our ‘Isolation Textures’ series – an album series that on one hand explored each composers sound during isolation in an experimental way through hybrid music and on the other enabled a platform to showcase the amazing female talent that’s out there and we feel should be championed. We shared both albums with the agency and they felt that using the 2 tracks from Esther Joy Lane (from Isolation Textures 1) and Dream Alisa (from Isolation Textures 2 to be released soon) would really help to tell both the powerful and inspiring sides to the story simultaneously.
This is their first ever Christmas TV ad and shows a commitment to activism, moreover in a challenging year. What do you think the role of music plays?
Music is so powerful at changing or enhancing the feel of a story. Unseen Kingdoms are inspiring stories about strength so it was really important the music wasn’t sombre or too emotive. Choosing Esther Joy Lane’s ‘Oscillation’ to kick the TVC off which is such a strong, bold track, really helped to signpost this intent early on. Whereas Dream Alisa’s ‘Levitation’ helped to ensure there was some time for thought and pause under the heavy dialogue.
There are unique considerations when soundtracking a piece of content with spoken word in the foreground. How would you say the music interacts with or complements the powerful spoken word in this campaign?
Music can really change a narrative through the tone of the piece so it’s really important to get it right when supporting spoken word. It can either take a more active role in reinforcing the message of the spoken word artist or a more passive role to let the words do the ‘literal’ talking. Here I think by using both tracks which are so different, it’s enabled the film to harness both of these qualities in a really effective way.
AMAZON – “The Show Must Go On” (Lucky Generals)
Track: ‘The Show Must Go On’ – Queen cover by Peter Mauder
Interview with Tin Drum Music
Amazon’s Christmas campaign this year directly comments on the challenges people have faced during the pandemic this year. What did the initial brief look like and how did the creatives and producers want the music to support the message?
The brief was always about the emotional journey of the dancer and supporting the narrative of her story. It’s rare to have 2 minute adverts but having that time enabled us to work with multiple sync points and changes in emotion without it feeling cluttered. It was really positive that the agency team wanted to avoid it being too in your face from the outset. Having that subtlety up front enabled the music to unfold with the story and leaves headroom for a really nice crescendo at the conclusion. With the wrong arrangement there is always the chance it could feel cheesy but it ended up really feeling like a credible, elegant piece of music.
“With the wrong arrangement there is always the chance it could feel cheesy but it ended up really feeling like a credible, elegant piece of music.”
– Tin Drum Music
‘The Show Must Go On’ messaging is directly mirrored between music and picture. Was the track planned from inception of concept or was there a process of creative discussion?
The track was on the table from the outset but was by no means the only avenue explored. Obviously it’s a massive track so there were the clearance and budget implications in getting that through which we weren’t sure would be possible. There were some really great original pieces we worked on too but it’s hard to beat a track that is so big and well known.
What was the re-recording process like?
Re-recording it was quite straight forward although as always time was short and there was a lot of creative feedback meaning lots of iterations. Peter Mauder, our composer on the job, fully immersed himself in the process, turning around versions at all hours. It meant the creatives were able to explore a number of creative approaches and settle on what they felt worked best. As always we started with the overall composition and then really dialled in specific sync points. All in all it was a pretty smooth journey.
Were there any unique challenges this year?
Sometimes the best music pieces come about in situations where there are the least challenges and though this was a very intense, the team were actually very easy to work with. At the beginning you are always juggling a lot of different potential avenues but once the track was settled then it was just about making sure we were all available and could turn any requests around quickly.
JOHN LEWIS – “Give A Little Love” (Adam&EveDDB)
Track: ‘Give A Little Love’ – Celeste
Interview with Toby Williams, Music Supervisor at Leland Music
Leland has regularly worked with John Lewis and Waitrose in the past. What was the vision for the Christmas ad this year and how did the events of 2020 impact their message?
Indeed we have! But you’re right that this year felt slightly recalibrated… The “Give A Little Love” concept was at the core of the brand’s thinking from the outset. It offered a relatable and humble message in what is a complex and trying year. There were unique obstacles to be negotiated (unusually, there were no opportunities for face to face collaboration…) but huge credit must go to Celeste and her songwriting partner Jamie Hartman – who were able to immediately relate to the concept following our initial “virtual” discussions.
What was the initial vision for music and what nuances in the ad did the music need to reflect?
It was essential that the song and performance connected squarely with the message and tone, and in this sense Celeste was perfect. We needed to balance the emotion carefully – this being quite a specific sentiment, conveying the generosity and connection at the core of the story. Also new this year was a fully collaborative production across many animation / shooting styles – so it was key for the music to allow for these changes of form.
Instead of a Sync or re-record, John Lewis and Waitrose opted for a bespoke song commission. Tell us about how that decision came about and what you think bespoke commission can bring to a campaign? Or are there any unique challenges?
The decision was made early that we’d be looking for an artist to write and record something new. The client was excited for an artist to create a completely fresh song, rather than re-imagining something we all know. Again in a year when we all want to look forward a completely new song seemed the perfect fit. As with any situation where you’re building something from nothing there are specific challenges (notably not having the heritage of a well known song to lean into) but I can’t overstate how perfectly Celeste and Jamie connected with the tone and message from the very start.
“In a year when we all want to look forward a completely new song seemed the perfect fit.”
– Toby Williams, Leland Music
BRIT’s Rising Star and winner of BBC Music’s Sound of 2020 Celeste wrote and recorded the song ‘A Little Love’: why was Celeste the right fit?
Well first of all because we’re all massive fans! John Lewis & Waitrose are always very detailed in their choice of artist but this year Celeste was a firm favourite from the start. Her effortless quality, songwriting style, not to mention that voice – meant everyone was excited to hear how she’d interpret the story.
Was there much tweaking to get to the final music edit? And did you come across challenges when producing a track with the restrictions in place this year?
Naturally there was plenty of work to do to have the song perfectly interact with the visual. Part of the thrill of this year was seeing all the different animation styles and sequences come to life stage by stage – and the music needed to allow for these variations. And yes, remote working had an impact – as with any project it was unusual not to discuss development face to face, but we had an amazing team across all parts of the production so this didn’t prove too disruptive to what was a creatively fulfilling process.
DISNEY – “From Our Family To Yours”
Track: ‘Love Is A Compass’ – Griff
Interview with Liam Klimek, Creative Sync Manager at Warner Music
What were the initial discussions in terms of the tone that the music should bring for the film?
Ultimately, the brief was to bring the right voice to tell this emotive and powerful story for Disney. As soon as Griff delivered her demo, we knew she was perfect. Her vocal has such depth and brightness at the same time, which is the same journey the animation takes you on. It was a perfect marrying of sound and picture.
Tell us about Griff and the process of landing on the track.
The process began in early Summer, when the details were light but the potential to work on something powerful was clear. Thankfully, we have a great array of talent we were able to play and present to Disney, but Griff stood out immediately. We had worked together on a bespoke Christmas brief in 2019 too, where we had learnt how talented and creative she is, even with tight timelines. The track’s a new recording made especially for the spot and has now also been released. It’s currently the highest rising new Christmas track in the UK singles chart and the campaign also reached over 30 million people in its first week.
“I think the biggest challenge was working through the COVID restrictions. Griff recorded her demo for the campaign from home for instance.”
– Liam Klimek, Warner Music
What were the specific challenges on the project, either clearing the track or the re-record process?
I think the biggest challenge was working through the COVID restrictions. Griff recorded her demo for the campaign from home for instance. We’re lucky she’s so brilliant and was able to do that. Otherwise, things could have been very different!
McDonald’s – “Inner Child” #ReindeerReady (Leo Burnett)
Track: ‘Forever Young’ – Alphaville cover by Becky Hill
Interview with Sharpa Music and Jess Nash, Marketing & Sync Manager at Phrased Differently (a Budde Music Company)
When did you start working on the project and who was involved?
Sharpa Music: Work started in July. The brand, agency and Sharpa Music were involved.
Jess Nash: July / August, when Sharpa Music first reached out with an initial enquiry re Forever Young
What were the initial discussions in terms of the tone that the music should bring for the film?
Sharpa Music: The initial brief was for a recognisable track potentially using an original recording.
When did everyone land on the idea of a re-record and why Becky Hill?
Sharpa Music: It’s hard to be specific about exactly when this happened but original tracks just weren’t working and weren’t emotional enough. So we started to look at contemporary artists.
What were the specific challenges on the project, either clearing the track or the re-record process?
Sharpa Music: Nothing specific apart from time frames!
Jess Nash: Making sure all potential creative avenues that were put on the table were approved and cleared in a timely fashion, whilst keeping everybody enthused.
What kind of trends have you seen in music briefs and licensing enquiries this year?
Sharpa Music: A lot of briefs have been focusing on positive messaging underpinned by well known copyright tracks.
“In a year like 2020 where there’s been this universal thirst for nostalgia and much needed comfort in familiarity, covering a classic and well-loved copyright is one way to put people at ease.”
– Jess Nash, Budde Music
Jess Nash: Similar; songs with a positive message about strength, togetherness, overcoming. And in a year like 2020 where there’s been this universal thirst for nostalgia and much needed comfort in familiarity, covering a classic and well-loved copyright is one way to put people at ease / provide some relief from all of this turbulence and uncertainty, so it does feel like there has been more emphasis placed on well-known copyrights.
Burberry – ‘Singin’ In The Rain’ (Riff Raff)
Track: ‘Singin’ in the Rain’ – re-record arranged and produced by Twenty Below Music, featuring vocals by Dreya Mac
And the spot that Music Supervisors and Creatives everywhere wished they were part of this year? Burberry’s festive ‘Singin’ In The Rain’. A triumph in all aspects, and an effortlessly fresh re-record, rearranged and produced by Twenty Below Music, featuring vocals by Dreya Mac.
“…the earthy rendition of singing in the rain make[s] it extremely mesmerising, soothing and everything in between.” – Sarah Blackman, Head of Strategic Innovation, Ogilvy UK.
