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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2008
Matt Hayward (Sound Reservoir) Ian Lew (Song Zu) ARESURGENCE Fellow panellist, Russel Howcroft, the chairman and managing direc- tor of G eor ge P at ter son Y& R, Melbourne, said if you are in the music business now, the dynamics have changed dramatically: “You are not getting your album sales, your CD sales, so therefore you are looking for partners. Someone has to pay for that video to be made, so you say, hang on a second, we’ll get Maybelline to pa y for it a nd there- fore we don’t have to pay for it and therefore we are going to make some more money,” he says. “The other thing abou t bei ng in the music business is distribution, it’s ver y har d t o g et d istribution because it is all online, so this is a beautiful deal for the record compa- ny as well because they get different distribution, they are at a different point of sale.” Sensing this opportunity, advertis- ing agencies are also looking to get more involved in the music busi- ness. In July, WPP’s Group M offi- cially launched BrandAmp Aust- ralia, a local version of a UK joint vent ure between Group M and Univer sal Music. For med 18 months ago, it is designed to match JU L Y /AUGUST 2 008 advertisers with musicians and has put together sponsorship dea ls between clients such as Take That and Marks & Spencer. Locally the deal was formed between Group M and Unive rsal Musi c Austra lia, which represents bands including Jack Johnson, U2, Sting, 50 Cent and Black Eyed Peas and will be headed by Darren Aboud. Additional ly, Melbourne-based agency , The Sphere Agency has hired Dennis Dowlut as its music director, one of the first appoint- ments in Australian agencies of this nature. Dowlut was formerly of Kaylan/Disco Montego. Despite agencies muscling in on their territory, music and post com- panies are enjo ying the broader playing field. Artists are definitely more open to not only having their tracks licensed for TVCs these days but also to cre- ate something original just for the spot, according to Ian Lew, manag- ing director of Song Zu Sydney. He gives the example of the recent Telstra Olympic campaign where up-and-coming hip-h op act, The Botanic s, was brought in to put thei r spin on it. Thi s was done under t he g uidance of Song Zu’s Nathan Cavaleri who i s producing their second album. “It’s great exposure and great tim- ing for a band like the Botanics who are j ust s tarting o ut, an d i t a lso works for Telstra to be a ssociated very e arly o n wi th a ba nd who I believe will do very well in Australia and hopefully beyond,” says Lew. He adds that in some cases the TVC s oundtrack le ads to a c om- mercial release by the artist, such as the Ben Lee re-mix Song Zu did for Coke and a Carlos Mora/Pespi sin- gle released last year. Song Zu i s a lso s eeing increased demand to write song based tracks and a re using more l ive musicians and singers than ever. “We’re c onstantly se arching for new voices that haven’t been heard on air before. Our orchestral com- posers seem to be very busy too and we’ve had a weir d amount of French vocal tracks,” says Lew. Stacey Wah, producer/director for New Zealand’s Soundtr ax , is another who a grees t he b arriers have br ok en down, giving the example of Justyn Pilbrow, gui tar player/s ongwri ter f or f our- times platinum s elling band, Elemeno P, and a composer for Soundtrax. “Their track has been licensed for the latest T elecom ad in New Zealand. It’s great for a New Zealand ba nd t o ha ve a s ong o ff their l atest a lbum p laying i n t he loung e r oom of ever y house a6round dinner time,” says Wah. But Da n Hig son, co- founder o f Noise, see s publishers and r ecord companies pushing their wares on every str eet c orner a s a p otential negative for th e advertising i ndus- try: “They c an’t s ell CDs anymore so they’re looking to make revenue by fleecing the advertising industry. Sadly advertisers have f allen for i t and continue to be lured by the thought of a ttaching their product to some incredibly trendy new band or some classic tr ack fr om the ar chives. Th e adver tiser s th ink they’r e being incr edibly clever licensi ng a t rack b ut th e reco rd companies and publishers are s im- ply la ughing a ll the way to the bank,” says Higson. Advertisers s pending s ix f igure sums to s ecure a w ell-known t rack and then spending what’s left - nor- mally a pittance - on creating the ? CAM PAIGN B R I E F 67
May June 2008