What’s
the connection between LMFAO and KIA? Madonna and Pepsi? The Black Keys and
Subaru? If you watch a lot of TV, then you know that each of these musical
groups have had their songs used in the brands’ commercials. Whether we like it
or not, bands will continue to license their music to brands, simply because it
is so lucrative for both parties.
Back
in 2007, Apple unveiled its new iPod Nano, and to do so, it enlisted the help
of Canada’s indie darling Feist. With her song “1234” playing on the Nano’s screen,
the commercial introduced much of the world to Feist’s catchy hooks and
charming melodies. Apple, in turn, solidified its brand image as the hip, more
creative younger brother to a PC. After watching the ad, I suddenly had the
urge to go out and get one of those colourful iPods. So, like some consumerist
automaton, I drove to the Apple store and bought one. It wasn’t until much
later that I realized that Apple had cunningly used an age-old marketing trick
on me.
David
Allen, a professor of marketing from Philadelphia, explains the technique:
“[Apple was] following a classical conditioning model – feelings generated from
hearing liked or disliked music in combination with a product can positively affect
product choices.”
Apple
had just used the classic conditioning approach on my weak little mind. This
theory suggests that I associated good feelings with the Feist song, like a
summer road trip down the Oregon coast, and when I heard the song on the commercial,
I associated those good feelings with the iPod.
Using
popular songs has other benefits for brands. Terry O’Reilly, author of The
Age of Persuasion,
points out that “most products don’t have emotions. But when songs are added to
commercials, the products are given emotional resonance.”
Consider
the Kia commercial that featured the LMFAO song “Party Rock Anthem”. When you hear
that boisterous song, you can’t help but feel energetic and bouncy. What KIA
wants is for you to transfer those emotions from the song to the car. If
consumers see the commercial and then perceive the car as energetic and fun, then
KIA has succeeded.
Essentially,
the objective is to associate the values of the song and artist with the brand
to realign or strengthen their brand image. When Chevrolet built their truck
campaign around the Bob Seger song “Like a Rock”, they wanted to strengthen
their brand image. To many, Bob Seger personifies the archetypal “all-American
man” and Chevy wanted their truck to be seen as the strong, American truck. The
campaign was a wide success, and unfortunately, I still find myself humming
that song whenever I see a Chevy pickup truck.
However,
it doesn’t always work out so well. In 1989, the pop genius Madonna debuted her
song “Like a Prayer” on a 2-minute Pepsi commercial. Initially, it seemed that
both artist and brand profited from the cooperation. That was, until Madonna
released the official “Like a Prayer” music video on MTV a couple of days
later. As you probably remember, the video showed a burning cross and a bunch
of other Catholic symbolism, which didn’t sit too well with the Pope.
The
Catholic institution called for a ban on Madonna, Pepsi, and all
Pepsi-affiliated companies. Amidst the controversy, Pepsi promptly dropped the
singer like a smoldering hot cross bun, stopped airing the television ad, and
withdrew is sponsorship for her upcoming tour. Despite these measures, the
damage was done. What could have been a stroke of marketing genius became a
reminder for ad agencies to make sure the singer’s brand aligns with the values
of their own brand.
Then
there are the bands that outright refuse to have their music used as a tool for
marketing products. They may be afraid of being labeled as a sellout, or
believe that associating with a brand may tarnish the purity of their craft.
There still is a stigma attached to advertising.
Other
bands and musicians accept some commercial licensing, but are strategic about
which brands play their songs: Moby turned down a few requests for car
commercials (but not all), and Chumbawamba (remember them!?) turned down a $1.5
million offer from Nike, but then accepted a different offer from GM. Each band
draws a line in the sand in a different spot. Are these bands being overly
idealistic, or just trying to maintain their integrity?
These
days, though, with record sales floundering, musicians have become more
receptive to the idea of having their song used to promote a product because
they need the money. The Black Keys, for example, have licensed their songs out
to a plethora of brands, including Subaru, American Express, Pokerstars, and
AT&T.
Many
fans were calling them sellouts, but when asked to respond to those claims on
CBC radio, the boys aptly defended themselves: “I would never call anybody a
sellout for taking money to help them make art. And besides, would you rather
hear our music in commercials, or Nickelback and Fergie?”
For
many bands today, their prime source of revenue doesn’t come from the
traditional ways – selling records or concert tickets – but from commercials.
In addition to licensing fees collected, commercials allow musicians to reach a
broader audience and tap into the mainstream. How many songs have you been
introduced to via a car commercial? If you’re anything like me, quite a few.
The
partnering of bands and brands can be a real win-win for both parties. Brands
build stronger personalities – identities that are emotional and human – and
bands collect licensing fees and have their songs heard in the living rooms of
millions. As for you, you get to hear some good songs in between your Breaking
Bad reruns.
I, for one, will be contemplating the band-brand synergy as I watch the
scantily-clad Victoria Secret girls strut around while M83’s “Midnight City”
plays in the background.
Jeff
Maertz is a fourth year student of the Capilano school of business with a focus
on marketing. Over the next few months, he will touch on topics ranging from
small businesses to examining the effect current events may have on students.
He is aiming to make the business world accessible and relevant, regardless of
their field of study.
// Jeff Maertz, columnist
// Jeff Maertz, columnist
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