“It is incredible that in a country as musical as Mexico we are ashamed to make music.” Pepe Beker told us while he received us in Beker/Socialand. When we talk about memorable campaigns, music is an element that is in all of them, so we arrived at Beker to talk about their latest campaign for Sky with Mario Bautista, we talked with the creative heads Carlos Octavo (VP), Carlos Sánchez and Nacho Márquez about music, content, jingles and campaigns.
Carlos Octavo: If we want to generate valuable content for our clients, music is a very valuable asset and it is something that we have very clear in the agency.
AW360: So, the role of music in a campaign is to generate value?
Nacho Márquez: It has an emotional factor that is obvious, we grow consuming content where the most exciting moments are always accompanied by music, we are almost trained to connect music with our emotions and advertising becomes a tool to reach the emotion we want to convey. Then there is a strategic factor, music generates consistency and brand identity. With Suburbia for example, we created an original music that we have been using for a year and if you listen to it wherever you immediately know it is Suburbia. It generates a brutal consistency and connects on an emotional level too. A good music is also capable of achieving it without tiring the public, that is something we have worked very hard, making arrangements in each campaign but maintaining the base.
AW360: Then why isn’t this resource used more often in Mexico?
Carlos Sánchez: I think it’s prejudice and fear. We feel it may be an old-fashioned resource. What we are forgetting is that music is one of the arts that most connects with people’s emotions, that connection in a campaign is extremely effective and helps to generate remembrance.
AW360: Why did you choose Reggaeton for Sky’s “Let’s Do Combo”?
CS: It is clear that urban gender is in trend, especially in the target audience we want to reach. That was the main reason. The complicated thing was not the choice because it was a more strategic situation, the complicated thing was to write a song that did not end up being a musical periphery.
AW360: I guess it was an interesting process.
CO: More than interesting, very fun. I think the combo campaign is a great example of a jingle that is not jingle and uses music to communicate and entertain. That’s the key to everything we do, with or without music, entertain and communicate, or communicate in an entertaining way.
AW360: What was it like working with Mario Bautista and how did you choose him?
CS: He’s a guy who, despite being so young, has a clear idea of what he’s doing and what he wants to achieve with it. I remember few celebrities that during the shooting of a spot have taken the time to greet and say goodbye to the production team. Mario Bautista is one of them.
AW360: Jingle or not?
CO: I’d say it’s like the soundtrack of an audiovisual piece. Completes, accentuate and sees what happens in the clip. I think that when we keep thinking that using music is the same as using a jingle, we are stopped by the prejudice and the perception that it is an old and practically discontinued resource.
AW360: If you could pick any song for your next spot which one would you choose?
CS: Probably the last thing I have on my playlist.
NM: Without a doubt Anarchy in the UK.
Latest posts by Advertising Week (see all)
- Q&A: Meet Donnie Broxson, the Agency President Offering His Perspective on Consumer Fatigue - November 18, 2019
- The Sonic Truth: Tales of Turbulence and Other Sonic Branding Stories - November 14, 2019
- The Sonic Truth: Making Dynamic Audio For Hundreds of Markets - October 29, 2019