Aussie radio advertising – good at gags but lacking in innovation, says Cannes juror
After what Cannes juror Jason Williams described as an “average year” for Australia in the Radio Lions, the Leo Burnett Melbourne ECD has called on the industry to think harder about creative ways to use the medium.
While Aussie agencies are “good at gags”, they are falling short in how they use the radio medium creatively, he told Mumbrella.
“Radio is one of the oldest media – and as such is seen as old fashioned in Australia,” he said. “The one area that is particularly lacking is innovation and the creative use of the medium. We need to rethink radio beyond 30-second jokes.”
The Strepsils ad was absolutely NOT creative integration – it was pure trickery. I am gobsmacked that decieving the public so blatantly with false listeners calling in to reach for a stepsils could be proudly labelled creative. At least in print or digital you are aware of the editorial content being sponsored, but this was a new low for advertising.
The Srepsil talk-back radio idea is a very good example of skilful radio advertising, but the treatment could do with a tweak.
Not one of them sounded better after the Strepsil, one even sounded worse, there was room to claim a soothing relief by at least one caller and it would have been nice for the radio host to have commented at least once that a caller sounded, if not better, at least clearer, after the Strepsil.
Radio has been badly served for years, it has certainly been considered old hat and unimportant, when, in fact, Radio has continued to be one of the major advertising platforms through many media changes.
Car transport has guaranteed a captive audience at specific times of day, farmers, garage workers and many other groups are tuned to radio almost all day five and six days per week.
One major problem for radio, is that the technique, at its best, has been largely forgotten.
There is a way to record radio that is known by fewer sound engineers today than used to be the case 30 years ago; there is a definite disadvantage afforded by stereo and the application of engineering tricks can actually work against the radio technique by causing confusion for the listener.
Radio needs good writing (good radio writing) and the writing of dialogue is a technique all of its own. Radio also needs directing, not some would-be comic or amateur dramatic enthusiast trying to make a miniature radio play, but a talented radio producer directing a well crafted script and actors…..yes, Actors, not voice over people.
The key to good radio is: After good script, cast and director, good sound engineer who knows that less is more. Essential ingredient: The creation of space in sound. Without this, no radio campaign will work beyond the voice beautiful spouting facts.
“The Radio Lions grand prix went to Brazil, with an idea that used a sonic frequency – inaudible to humans – to repel mosquitos.”
Really? Firlstly, I seem to recall M&C Saatchi doing something similar for dogs a few years ago. And the judges should have known about it because it won at D&AD or One Show.
Secondly, would the listener really know anything about the mosquito frequency. What’s the situation? Am I listening to the radio while getting the shit stung out of me by mosquitos when the ad suddenly comes on. Then, I’m meant to go, “Wow, look! all these mozzies have fucked off!”
Prize after prize at Cannes has only served to strengthen Paul Fishlock’s recent article.
Tim, if we’re serious about giving an unbiased look at awards and what they stand for, I think we should compile a list of the products and scale of the campaigns of the stuff that regularly wins.
Sure, you’d get the odd Cadbury Gorilla / Old Spice Guy type blockbusters. But I’m guessing there’d be many, many more double page, full colour ads for BIC pens, super glue and Amnesty International.
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