Creative Director / Partner
SOUTH Music & Sound Design
1) The biggest challenge for us (and anyone in a creative field) is probably to stay emotionally invested in a project, even when the best creative ideas have been discarded in favor of something inferior. In music, this tends to happen when a client gets a little wrapped up in a temp track, but truthfully, I think many people would agree that the best version(s) almost never ship no matter what the circumstance. Most recently, we worked on a project where we did some amazing covers of a classic tune. The agency was absolutely in love with what we did, but unfortunately the client got hung up on an earlier idea that was pretty mediocre. At the end of the day, or job is to solve problems and get our clients something that their clients are willing to put on the air. And in this instance we had to help console the agency (and ourselves) for the death of a much more exciting idea, while still working hard to finish the job and please the brand. We’re a small company, and everyone touches everything. It was especially gratifying when our team finally delivered the final approved music and were greeted with loads of gratitude from the agency. It made the pain of seeing a better idea die a little easier to take, and it is in these types of situations that I am most proud of our people and the work we do.
2) I am most proud of the work we did for McDonald’s Big Mac campaign, “There’s A Big Mac For That.” When I started in this industry, the idea of a “Jingle” was something people often joked about as being dated or lame. But today perception has changed, and one of the hardest things to pull off is to write an original song that has the desired brand message and itself is also an authentic “hit.” That was pretty much the crux of our brief. It was a highly competitive job with a very tight timeline, and the agency would later tell us that once they heard our track for the first time, there was absolutely no question it was to be “the track” for the whole campaign. McDonald’s had just shifted their business to a new agency and there was a lot riding on this initial work. It really couldn’t have gone smoother. We took an active roll in casting the rapper, recording him at our studio the weekend before the shoot, and the response from everyone was tremendous. This was the one rare time where the best version did make it to air. (Well almost. We wrote some additional verses that were pretty amazing, which couldn’t fit into a :30)
3) Our role as a company evolves from job to job (not just year to year). No project is the same, and as a production partner we have to adapt accordingly. Sometimes we’re almost completely responsible for the musical concept. Other times, we’re simply asked to execute a fully fleshed out and tested idea. We are asked to be writers, curators, performers, talent scouts, etc..All that has changed over the years is our breadth of experience in each one of these roles. And it is that unpredictability that can be both the most exciting and most stressful part of the gig.
4) There are some musical trends that are emerging that are pretty fun and exciting. Now that hip-hop has existed for a few more decades, it has cemented its place in pop music. And therefore, advertising music has followed suit. 15 years ago, hip-hop was usually reserved for certain types of brands/markets or used as a comedy device. Hip-hop has pretty much replaced Rock and Roll in pop culture, and that is extremely obvious when you look at advertising. That’s only gonna continue.
5) There are a lot of creative things happening with sound and VR/AR. Our agency and brand partners are only just beginning to scratch the surface on what is possible, and while we’ve dabbled a bit in some of it, we’re expecting more of that to come in the future.
Oscar and Emmy-Winning Composer Kris Bowers Joins Barking Owl For Advertising, Branded Content
Music, audio post and sonic branding house Barking Owl has taken on exclusive representation of Oscar and Emmy-winning composer Kris Bowers for advertising and branded content.
Bowersโ recent film scores include The Wild Robot and Bob Marley: One Love, alongside acclaimed past works such as The Color Purple (2023), King Richard and Green Book. His contributions to television are equally impressive, with scores for hit series like Bridgerton, When They See Us, Dear White People, and his Daytime Emmy Award-winning score for The Snowy Day.
In addition to his work as a composer, Bowers is a visionary director. He recently took home the Academy Award for Best Documentary Short Subject for his directorial work on The Last Repair Shop. The emotionally touching short film spotlights four of the people responsible for repairing the musical instruments used by students in the Los Angeles Unified School District (LAUSD). The Last Repair Shop reflects the positive influence that musical instruments have on the youngsters who play them, and the adults in the LAUSD free repair service who keep them working and in tune.
Barking Owl CEO Kirkland Alexander Lynch said of Bowers, โHis artistry, diversity of style and depth of storytelling bring an unparalleled edge to the work we create for global brands. His presence on our roster reflects our continued commitment to pushing the boundaries of sound and music in advertising.โ
Johanna Cranitch, creative director, Barking Owl, added, โKris first caught my attention when he released his record โHeroes + Misfitsโ where he fused together his jazz sensibility with a deeply ingrained aptitude for melody, so beautifully.... Read More