A backwards approach proved to be forward thinking in the marketing of the new Oasis album “Dig Out Your Soul.”
The conventional litmus test for a hit CD is that the music seeps into mainstream culture–or at least pockets of culture–resulting for example in hit songs being performed by street musicians, each offering his or her own unique artistic rendition or variation of the original.
However BBH New York creative directors Calle and Pelle Sjonell turned that dynamic on its ear. In a world where established bands are protective of their music, with labels paranoid about a cut being leaked online or elsewhere prior to an album’s release, BBH’s approach was instead to share several new Oasis songs with New York street musicians. These artisans then performed the pieces one day (on Sept. 12) in their own styles in Manhattan subways and public venues–prior to the actual release of the Oasis album containing those songs.
So the music got its first exposure in the streets, with a heads-up for Oasis fans posted on the band’s website. People came to subway venues to hear what Oasis had in store–and other folks who just happened to be going about their daily commute got an earful as well.
A placard at each venue read, “You are the first to hear this Oasis song.”
The event got loads of coverage in consumer and trade press, generated genuine grass-roots buzz and interest in Oasis’ latest work.
When the album launched, it immediately hit the number three slot on the U.S. version of iTunes and number 11 on Amazon.
Warner Records, the label for Oasis, had been in discussions with BBH on other projects. The Sjonell brothers approached Warner with the idea of taking new music to the streets in order to launch a band’s album. The creatives were looking for the right album to act on that concept–and along came Oasis’ new CD. Warner and the band embraced the idea.
“It was just about creating an opportunity and then opening it up to others,” related Pelle Sjonell.
Among the others was BBH tourism client NYC & Co., which through this initiative realized its goal of providing New York visitors and locals with an unprecedented, memorable experience. The CD launch was of special interest to one sizable visitor segment in particular, Europeans.
In terms of promoting New York City, the project was a major success. Traffic on the NYC & Co. website (nycvisit.com)–which carried footage of the subway music debut performances–increased 15 percent on the day of the event.
At press time, a documentary chronicling the event and what led up to it was being cut. Directed by the Malloy Brothers (Brendan and Emmett) of bicoastal/international HSI Productions, the film shows Oasis band members meeting with the street musicians at a studio venue and providing them with music from the new album.
Oasis then heard the different interpretations of its music as performed by these street artisans.
The Oasis members seemed genuinely moved to see and hear the street musicians. Oasis singer Liam Gallagher, said Pelle Sjonell, noted that the street performers reminded him of when he was a youngster starting out, fueled by his love of music.
“This is an unknown community of musicians,” related Pelle Sjonell. “But there are some great performers and players in this community. They have to get a license from [New York subway authority] MUNY to be able to perform. They are the cream of the street crop.”
The documentary gives us a sense of the passion and talent of these street performers, including Nicole Holz, Michael Shulman, Dominic del Principe, Thoth, Jason Stuart, Dagmar, Suki Rae, Theo Eastwind, Next Tribe and Majestic K. Funk.
And the Malloy Brothers captured the subway performances themselves. Five cameras were deployed for the film, which also showed the performers connecting with enthusiastic crowds. The music seemed to strike a responsive chord.
As SHOOT went to press, it was yet to be determined exactly how the documentary would be used. Suffice it to say, though, that the film conveys the spirit of the street performers, the Oasis members and the receptive audiences–all united by a genuine love for music, and for experiiencing the music. Heightening that passion is the excitement of being party to the debut of music never heard before publicly.
Pelle and Calle Sjonell worked in close collaboration with the music video pioneering Malloy Brothers, whom Pelle Sjonell described as being the ideal choice for the project. The Malloys have a host of lauded music clip and film credits amassed over the years, working intimately with assorted notable bands, musicians and vocalists spanning different genres…
“The Malloys have both the documentary and music sensibilities to do full justice to this job and what it entailed,” affirmed Pelle Sjonell. “They got it right away and it was great to see them go about their work.
“It’s all about the music,” he continued. “The documentary celebrates music and musicians. It shows that you don’t have to have a polished music video or a perfectly recorded soundtrack to get your message across to an audience. The bottom line is that it’s all about the songs and the performers–and if they’re good enough, they connect with people.”
Speaking of connecting, Sjonell observed, “We went with a nontraditional way of doing things in a traditional business. The lesson learned from both the advertising and marketing perspectives is that sometimes you have to change the rules.–perhaps even more so today with a changing, constantly evolving media landscape.
“The street musicians were our media–they connected with the people whom we wanted to see the product, and in this case the product was the new album,” continued Sjonell. “You don’t have to broadcast widely and spend a lot of money to hit those you want to hit. There are discussions everywhere about different ways to reach an audience–a television commercial, a viral spot, YouTube, a documentary, a short film, different elements working together to create a good experience. And a good experience generates positive word of mouth. This work for Oasis was a good example of new media today.”
At press time, sales of the Oasis album propelled it to number one in the United Kingdom and Italy, number five in the United States (the band’s first top 10 stateside showing since ’97), number one and two, respectively on Japan’s international and domestic charts, number two in Ireland and Switzerland, number four in France, number five in Australia, number six in New Zealand, number eight in Germany and Sweden, number nine in Belgium, number 11 in Norway, number 13 in Denmark and Austria, and number 14 in Spain and Finland.
Review: Director Jon M. Chu’s “Wicked”
It's the ultimate celebrity redemption tour, two decades in the making. In the annals of pop culture, few characters have undergone an image makeover quite like the Wicked Witch of the West.
Oh, she may have been vengeful and scary in "The Wizard of Oz." But something changed — like, REALLY changed — on the way from the yellow brick road to the Great White Way. Since 2003, crowds have packed nightly into "Wicked" at Broadway's Gershwin Theatre to cheer as the green-skinned, misunderstood Elphaba rises up on her broomstick to belt "Defying Gravity," that enduring girl-power anthem.
How many people have seen "Wicked"? Rudimentary math suggests more than 15 million on Broadway alone. And now we have "Wicked" the movie, director Jon M. Chu's lavish, faithful, impeccably crafted (and nearly three-hour) ode to this origin story of Elphaba and her (eventual) bestie — Glinda, the very good and very blonde. Welcome to Hollywood, ladies.
Before we get to what this movie does well (Those big numbers! Those costumes!), just a couple thornier issues to ponder. Will this "Wicked," powered by a soulful Cynthia Erivo (owner of one of the best singing voices on the planet) and a sprightly, comedic, hair-tossing Ariana Grande, turn even musical theater haters into lovers?
Tricky question. Some people just don't buy into the musical thing, and they should be allowed to live freely amongst us. But if people breaking into song delights rather than flummoxes you, if elaborate dance numbers in village squares and fantastical nightclubs and emerald-hued cities make perfect sense to you, and especially if you already love "Wicked," well then, you will likely love this film. If it feels like they made the best "Wicked" movie money could buy — well, it's... Read More