There has been a ton of research that points to how music can either make or break an ad. It’s no secret that tracks can affect audiences’ emotions, make spots memorable, and hopefully lead to sales. But there isn’t much discussed about how creative storytelling can give a song new life and modern relevancy by introducing it to new audiences.

Storytime. 

Amazon tapped W+K London to partner with Prime to build a cohesive identity for the membership’s fundamental values of savings, convenience and entertainment. The goal was to highlight the benefits of Prime—speed, free delivery, exclusive deals, music, movies, series, podcasts—and develop an emotional connection with customers. Together, we aligned on an approach to show how Prime is able to get you closer and deeper into your passions and interests. In March 2023, we launched “It’s on Prime,” with a hero film directed by Olivia Wilde and airing during the Academy Awards.

You might be asking yourself, “Why is this relevant a year later?” We’ll get there. We promise.

The film, “Tache,” tells the story of a teenage girl who ultimately embraces her facial hair. The spot follows an emotional rollercoaster as she comes to terms with her new image. Initially, she is dismayed, until she realizes that some of her cherished icons—especially Freddie Mercury—all have mustaches too. She struts into school with newfound confidence, channeling her inner Freddie, wearing a flamboyant yellow jacket purchased on Prime. 

When we were coming up with this concept, we knew we had to find an amazing soundtrack with swagger, one that could land the key scene of our hero’s strut down the school hallway. Given Queen’s epic catalog, it would make sense to go with a beloved track like “Bohemian Rhapsody,” “We Are The Champions,” “Radio Gaga” or even “I Want to Break Free.” And we did consider some of those—but they felt too expected. Too predictable. 

Instead, we set the story to the beat of a lesser-known tune: Queen’s 1982 deep cut “Cool Cat.” Why? Well, we wanted something that was not only surprising and distinctive but also aligned with Prime’s new positioning. A song that represented the depth of passions of real people like our hero.

Little did we know that this approach would not only lead to a successful ad but also introduce a song to a new generation and give “Cool Cat” an unexpected rebirth.

How did we do it, and what do we mean by rebirth, you ask? We listened to pretty much every song Queen recorded. When we came across “Cool Cat,” it was one of those moments when it all clicked. The track had that laid-back confidence we were aiming for. The film’s director agreed, as did the Amazon Prime team. Queen’s team was incredibly excited by the opportunity and supported the strong message of self-love and expression the ad promoted.

When the commercial launched, we were floored by the positive reactions and comments on social media—both for the ad and the song. On the heels of the spot’s debut, “Cool Cat” gained sales and plays at a phenomenal rate, as streams of the song on Amazon Music increased 800 percent month-over-month from February to March 2023.

The song even entered the top 10 of Billboard’s Digital Rock chart for the first time. This led the band to re-release it as a single in 2024 on Record Store Day—noting that a big part of the decision was due to the success of Amazon’s “Tache” film. 

It’s clear that creative content that makes a splash in pop culture and resonates with audiences can also lead to an unexpected affinity towards previously released music. We’re seeing it across entertainment verticals such as TV (Stranger Things—”Running Up That Hill” by Kate Bush) and movies (Salt Burn—”Murder on the Dance Floor” by Sophie Ellis Bextor and most recently, Anyone But You—”Unwritten” by Natasha Beddingfield). 

And now, we’re seeing it in advertising, too. Look for this trend to continue, with more forgotten and overlooked tracks making comebacks and helping build brands.

Sure, green beer or a Guinness are typical St. Patrick’s Day drinks, but Kahlúa hopes to shake things up this weekend with its Irish espresso martini. This stirring creation swaps vodka for Jameson Irish whiskey, following brand research showing that 30 percent of consumers feel obligated to order a beer on St. Patrick’s Day, even when it’s not what they want.

Starting today, Kahlúa is offering consumers an Irish espresso martini for free. Fans can enter online for a chance to score a deposit in Venmo to cover the beverage.

Promotions include a :30 from Wieden+Kennedy London that takes place in a pub on St. Patrick’s Day. A patron requests his usual fare—and as it’s poured, one would assume it’s a Guinness. But the band stops playing and regulars stop drinking to eye the man as he sips a “Black, Creamy Espresso Martini,” as the ad informs us near the end.

“In November when we launched the ‘Global Stir Up’ campaign with Salma Hayek Pinault, we aimed to challenge the category in a given occasion by inspiring consumers to uplift the mundane and switch from the status-quo option, in that case wine, to something that they really want to drink,” says Craig van Niekerk, global VP of marketing for Kahlúa. “This is indeed Kahlúa’s first-ever global campaign offering a bold way for people to stir up the beer-centric holiday with an Espresso Martini.”

OOH ads continue with digs at Guinness. They show espresso martinis presented in mini pints, making so they resemble tiny Guinness pours (but the coffee beans area dead giveaway.)

The campaign will run in the U.S., U.K. and Ireland.

“Filming took place in London and Ireland with the Oscar-nominated director behind Derry Girls, Michael Lennox, to ensure authenticity. Our Irish star duo, Tadgh and Derry Fleming, had the whole cast up jigging at several points during filming,” Freddy Taylor and Philippa Beaumont, creative directors at Wieden+Kennedy London, tell Muse. “Look closely and you’ll be able to spot the worst ever poured pint of stout being consumed by an influencer famous for his critiques of stouts. We also made the cast dress like stouts!”

Slainté… or Salud, everyone!

Nobody tees us up for the holidaze like U.K. grocers and department stores. Waitrose doesn’t disappoint. “It’s Time for the GOOD Stuff,” by Saatchi & Saatchi London and directed by Autumn De Wilde, is flanked by Depeche Mode’s “Just Can’t Get Enough.” It sports a Graham Norton cameo and is jam-packed with corny, besequinned enthusiasm. A feel-good endorphin spike to prime viewers for the commercial barrage to come. Bring on the gravy-thick emotions, the Mariah Carey covers, the complicated Santas!

We love seeing a jinn-like fire in people’s eyes. There’s lots of that in “Follow Your Spark” by Digital Cinema Media for BAFTA, promoting the U.K. org’s bursary program for young creatives. “A single spark can light the way, so our reality can catch up with our vision,” says charismatic actor Micheal Ward. Money is means. When it flows into certain hands, it’s a vote for a different kind of world.

The best thing about “Open a World of Possibilities,” for the Kia EV9 by Innocean Berlin, is the song—Låpsley’s “Painter”—and the tundra, both of which lend a sense of the epic. Does the EV9 merit such treatment? I’m sure it does to someone. Regardless, this wouldn’t be the first time vast landscapes and an esoteric bop were used to make a car feel pregnant with meaning.

“Festive Farm,” the Christmas ad for TK Maxx by Wieden+Kennedy London, brings back a stylish goat from its 2020 spot. It’s got new friends: a stylin’ alpaca, ducks sartorially inspired by Harry Styles and a hedgehog in cashmere. The beat-drop comes courtesy of Eve and Gwen Stefani: “Let Me Blow Ya Mind.” We’ll take any excuse to rock to this, even this one.

Lionel Messi won his eighth Ballon d’Or. Lay’s is very proud, and wants some of that GOAT halo, so it created a strange mixed-reality video featuring a celebratory chips bag, Messi’s likeness and the Eiffel Tower. The whole thing feels like a photobomb, but what is bombing what, exactly? Messi posted it on his socials like a good sport.

KFC’s “Forever Crispy” by Havas Paris features a bespoke track by HRCLS and depicts a retro-futuristic KFC Universe. Directed by Romain Chassaing, Havas dubs it a “crossroads between Blade Runner and The Fifth Element.” We were thinking Minority Report (for the hologrammery) and Demolition Man (the kids are literally jamming to a jingle). But we get that KFC might not savor that in less than 30 years, its entire raison d’être might be subsumed by Taco Bell. Anyhow, great world-building here.

Get a load of “All the Calls” for Britain’s Gala Bingo by Neverland. We’ve never seen a bingo ad before, and are surprised by how beautiful this one is. We blame the song—what is that? We can’t put a finger on it—and the production strategy: a heavy slowdown of neighborhood life. After a time, we start feeling weirdly heartbroken. Maybe it’s because seeing life at this speed (or lack thereof) illustrates how earnestly we strive to live, even when we’re not doing it consciously.

This strategy is also functional: Viewers are invited to “find all 90 bingo calls.” The work was shot by attaching a super-high-speed camera to an electric bike, which sped through the carefully choreographed action at 30 mph.

There’s leftover Halloween work to get through. You probably don’t need anyone to tell you “Not All Horror Is Fiction,” but agency at-thetable doubles down on that for Belgian animal rights organization Gaia. Its campaign reprises the style of old horror film posters to emphasize the nightmarish treatment animals suffer for our sakes. “Castration Chamber” appears below, but also see “Force-Fed” and “Labrats.” (Extra credit: Pair this with the insouciantly gluttonous Waitrose work!)

With agency Buzzman, Burger King in France gives us nightmarishly Daliesque AI renditions of people eating burgers, or possibly becoming them. “Happy a.i.lloween!” We’ve seen the approach before, but it never stops being creepy.

“This is not an ad; it’s a warning.” Actually, this is an ad—a rhythmically rich, vibey spot for Andalucia Tourism by Ogilvy Spain. It’s got so much duende that it pounds in our blood, like Paco de Lucía’s devilish strumming. The narrator also appears at the end, a chef’s-kiss cameo. A heady digestif to finish the week!

At the end we’re told that Heinz beans are simply “Too Good to Leave Behind.”

Um, OK. But couldn’t he give the flan a try? Guess not. For Brits, loading up luggage with tins of legumes is apparently a thing.

Steve Rogers directed through Biscuit Filmworks x Revolver. He’s a veteran of funny food-related fare for Uber Eats. Those ads, like this Heinz outing, excel at visual storytelling. Neither uses dialogue, and that approach gives both campaigns a little something extra to help them stand out.

The moody soundtrack selection—”L’Appuntamento” by Ornella Vanoni—adds a splash of exotic style.

Through it all, without saying a word, veteran comedy actor Steve Furst gives a delightfully despairing performance. At times, he seems genuinely upset, but channels enough humor to let us know his tongue’s lodged firmly in cheek.

“While on set, I asked him what he thought about in order to cry convincingly, and he said, ‘All the acting auditions I failed in my life,'” W+K creative director Joe de Souza recalls.

Launching this week, the push also features OOH. Some of those elements, shot by photographer Kamila K. Stanley, will appear at terminals in London’s Heathrow Airport.

In a second spot, Salma’s less violent—but still gloriously OTT:

Hayek doesn’t appear in the next two ads, but they still rock:

Beyond that fierce footwork, why cast the Emmy-winning actress?

“Not only is Salma a brilliant embodiment of Kahlúa’s glamor and over-the-top indulgence, she also hails from the same place, Veracruz, Mexico,” W+K creative director Philippa Beaumont tells Muse. 

“Kahlúa has always been proud of its Mexican heritage, and with Salma being one of the biggest Mexican icons, it felt like a great opportunity to shine more light on the amazing country,” Beaumont says. “Not to mention how brilliant she is at mixing glamor and comedy. We couldn’t imagine anyone else kicking down the door to tell you to try something a little more unexpected.”

Given the brand’s heritage and Hayak’s chops, spoofing Spanish-language soap operas was a no-brainer. Yes, it’s been done before, but perhaps not with such manic gusto.

“It’s a bold, iconic brand, and we wanted to create something no one could miss—bold, fun, and stylish as hell,” says Beaumont. “It’s aimed at those who are bored of the routine and monotony of a wine-filled evening on the sofa. We wanted to show you could spice up even the most Tuesday of Tuesdays.”

And Hayek apparently enjoyed herself on set.

“By far, the most iconic moment was Salma calling ‘cut!’ so she could enjoy the rest of her espresso martini outside with the crew and agency,” Beaumont recalls. “Dressed to the nines, sipping an espresso martini, in the back garden of some home in Willesden [North London]. You couldn’t write this stuff.”

The work breaks across the U.S. next month with redesigned bottles hitting shelves at the same time. A global rollout will follow.

Portraits are part of Wieden+Kennedy’s DNA. They’re normally the first thing you see when you walk in. From black and white film photography to food portraits and 3D models, they put their people on a pedestal, and each office has its own twist.

We wanted to reflect the tapestry of cultures, languages, and ideas that make up London. So, we commissioned 18 of the city’s most promising illustrators to draw the 200+ faces that constitute W+K London.

We’re calling it “New Faces,” an ongoing project that aims to continually spotlight the best up-and-coming London-based talent, champion the people who work here and celebrate creative eclecticism.

From Fromm Studio’s 3D ceramic busts and Olga Rokosz’s stitched puppets to Cyntia Agata’s almost photorealistic pieces and Joshua Scurville’s “side-eye” faces, the hope is that people see just how talented these artists are and begin knocking on their doors.

Click each sample to enlarge:

Sex sells. But nostalgia, oft driven by classic tunes, ranks as adland’s it theme for 2023.

Starting with the Super Bowl, brands began pumping up the volume on musical memories. Classic hits and vintage stars abound, hyping Sprite, Goldfish, AAA Insurance, Jack in the Box and more.

Now, Jax performs “Escape (The Piña Colada Song)” in a summer campaign launching today from Malibu Rum.

I don’t actually like piña coladas (too sweet). But Rupert Holmes’ 1979 chart-topper always sets my toes tapping and gums flapping. I’m singing it now while I type!

It’s a song that transcends genres and generations, familiar even to those who missed out on its FM-radio run during the Jimmy Carter days. It’s catchy and kitschy in the very best way.

Wisely, Jax sticks close to the original’s novelty-pop vibe, adding a shimmery club sheen. She coyly plays up the naughty nuances—because sex sells!—in the sun-splashed clip below (which features a James Kennedy cameo).

You know, the lyrics are mostly about advertising, not so much piña coladas. The singer takes out a personal ad. Precious few swiped right in ’79.

“There are only a few things in life that have the ability to transport you to a summer mindset—music and Piña Coladas are two of those things,” Malibu vice president of marketing Matt Foley tells Muse. “The new music video tells the story of how Malibu is shaping piña colada culture to be not just a drink enjoyed in the summer, but one that can transport you to a moment of ‘Escape’ year-round.”

Raise a glass to that title drop. Well played, marketing veep!

Wieden+Kennedy London developed the campaign with Camp Productions director Drew Kirsch. It will run across the U.S., U.K., Germany and the Netherlands.

Such chatterboxes! Given the focus on socializing and connection, the approach feels counterintuitive.

Yet it works, in a quiet way, suggesting that deep, abiding friendships needn’t be boisterous. True communication takes place at that table. About trivia, mostly. Still, that’s the stuff that sometimes means the most. Maybe Leffe added a touch of malted gold, as it were, to the blissfully shared silence.

W+K developed the work “in response to loud ads,” say creative directors Charlie Lanus and Lucas Reis. “Our audience is a bit more mature. They are not standing around in bars and clubs anymore. They are sitting around the table, sharing life. It’s an invitation to share, in an honest way that only comes with the experience that age brings.”

Director Freedman has delivered subtlety and strong visual storytelling before, notably in last year’s sweet spot for Ikea. His work for PlayStation and Autodesk, however, ratcheted up the volume and bluster considerably.

Along with the commercial, social, digital and OOH elements, with some images shot by Sam Wright, invite viewers to “Bring More to the Table.”
 

Phew! Thanks to Sainsbury’s, dude’s caramelized biscuit pudding pleased Her Excellency. For a minute there, we thought she’d go medieval on his ass.

Both her enraptured response to the dessert—”That’s a bit of me!”—and the spot’s title, “Once Upon a Pud,” sound kind of kinky to American ears. But Brits will dig the slang, and there’s lots of laughs, plus that rad dragon and a symphonic version of the Wheatus indie-rock staple “Teenage Dirtbag.” So, what’s not to like?

To quote another salient line from the countess: “Well done, Babs!”

“Food plays a central role in any celebration, and we wanted to bring to life the imagination and innovation that goes into creating our ‘Taste the Difference’ Christmas range,” says Sainsbury’s head of campaigns Laura Boothby. “We also wanted the ad to provide some fun and lighthearted Christmas cheer.”

She adds: “We’ve focused on the pudding specifically because we know it’s divisive—people love it or they hate it—and that’s why we’ve created the Taste the Difference Caramelized Biscuit Pudding. Pudding lovers can still opt for the traditional dessert, but those who aren’t fans can try our innovative take on the classic instead.”

And so, U.K. holiday ad season begins. (Sainsbury’s rival Asda just unboxed this funny package—starring Buddy the Elf!). Such spots are a big deal across the pond, akin to U.S. Super Bowl campaigns, with brands like Sainsbury’s, John Lewis, Boots and Marks & Spencer annually battling it out for seasonal supremacy.

Sainsbury’s has authored several memorable holiday messages involving trips to the past. In 2019, the brand traveled to 1869 for a Dickensian romp. And its 2014 story of a soccer match between enemy soldiers during World War I ranks as a timeless treasure, regarded by some as the greatest Christmas commercial of all time.

CREDITS

Client: Sainsbury’s
Project Name: Once Upon a Pudding
Synopsis: Sainsbury’s Taste the Difference 2022 Christmas Campaign
Media Channels: TV, Social, Digital
Client Name: Sainsbury’s
Markets: UK

Agency: W+K LONDON
Creative Directors: Freddy Taylor & Philippa Beaumont, Juan Sevilla & Joe de Souza
Executive Creative Director: Susan Hoffman
Group Account Director: Ollie Pym
Account Director: Hazel Mc Partlan
Account Manager: Sophie Grierson
Chief Strategy Officer: Dan Hill
Strategy Director: Georgia Challis
Planner: Ollie Chakraverty
Comms Planner: Calvin Lyon
Heads of Production: Rich Adkins, Amy Leach
Producer: Sahar Bluck
Production Assistant: Lea Georgiev
Project Director: Mark D’abero
Agency Artworker: David Brodie
Design Directors: Phil Rosier, Alex Thursby-Pelham
Designer: Emma Cope
Head of Business Affairs: Helena Tomas
Business Affairs Manager: Jo Woodfood
Business Affairs Coordinator: Lenya James

Production Company: Anonymous Content
Director: Tim Godsall
Executive Producer / Managing Director: Victoria Fitzwilliams
Production Company Producer: Stephen Johnson
Production Manager: Marian Mikhail
Director of Photography: Stephen Keith Roach
Production Designer: Chris Oddy
Costume Designer: Sophie O’Neil
Food Styling: Katie Giovanni

Editorial Company: Final Cut
Editor: Rick Russell
Edit Assistant: Josh Chadwick
Edit Producer: Nikki Porter

VFX Company: Time Based Arts
VFX Head of Production: Josh Robinson
VFX Producer: Mia Saunders + Sian Jenkins
2D Lead: Thiago Dantas
2D Artist: Valeria Scalamandre
2D Artist: Sarah Breakwell
2D Artist: Ria Shroff
2D Artist: David Birkhill
2D Artist: Oliver Ramsey
3D Lead: Mike Battcock
3D Artist: Nick Smalley
3D Artist: Quentin Corker-Marin
Colourist: Lewis Crossfield
Colour Asst.: Sharn Talbot + Max Ferguson Hook

Sound Company: 750mph
Sound Designer: Sam Ashwell + Michalis Anthis
Sound Producer: Olivia Ray + Aishah Amodu

Music Production: Mr Pape
Performer & Producer: Joseph Alexander
Composer: Brendan B. Brown

Music Licensing: 20 Below
Music Supervision: Emily Pritchard

Hero Talent Casting: Talent Republic
CEO: Anne Batz
Managing Partner: Charlie Powell
Senior Account Executive: Ella Barker
Researcher: Louise Urwin