Listen Up: Iconoclast's Smith-Tenser Dissects the Entertainment for Music Lions

Are you aware of the altered structure of Cannes Lions this year and, if so, do you think it will help improve the event?

Yes, I’m aware of some of the changes, and overall I think it will result in a more positive experience for festival goers, in streamlining the festival to five days, and replacing some of the categories. This allows everyone to focus on the truly great work, making brands/agencies/production companies consider much more carefully what they want the piece of work to win for, rather than scatter-gunning as many categories as they can afford in the hope it will win something!

"The breadth of work able to live under the Music category is huge..."

Also, the inclusion of Entertainment Lions into the main festival is a wonderful message to the industry as I feel these categories really shine a light on some of the most interesting and creative pieces of work that consumers genuinely enjoy on a more emotional level.

What do you think the jury will be looking for when they’re debating the Entertainment for Music Lions entries?

Music is such a huge part of the storytelling and can often make or break a film. I’m sure the jury want to see a seamless marriage of an artist (or many!) on a track with a brand, making it feel so integrated that you forget that it’s even advertising! Last year the winner, Original is Never Finished, for adidas was a great example, and has set the bar for other submissions this year and demonstrates how some brands’ personas are intimately linked with musicians and therefore culture. Hopefully this year the legacy continues with the next adidas film from the same agency, and directed by Iconoclast’s Manu Cossu.

I think the breadth of work able to live under the Music category is huge, so the debate for the Grand Prix will range from whether the benefits of placing a good or original track on a piece of advertising is more effective than, say, an advertiser’s campaign which raised the profile or fanbase of a particular artist. Done right, an artist can hugely capitalise on their relationship with a brand – who can fund their aesthetic and film content. It’s a tough debate.

What has changed in the sector since this category was first launched?

Given that the category was founded only two years ago, not too much has changed, but one thing I’ve noticed is artists are spending less time on albums and EPs, concentrating on releasing banging singles. This could be exemplified by the fact that streaming services are keen to create playlists containing singles only, and it feels like artists can start making a bit of money again quickly by releasing singles… especially if they can be partnered with or supported by brands too.

Emerging artists’ monetary value is getting stronger now, so brands want to piggy back off their rise to stardom – look at Dua Lipa for example – her association/brand endorsement is huge, but it’s helping her, and helping them too.

 Dua Lipa fronts adidas' SS2018 collection

What’s the promo to beat in the music video section of the category this year?

Kendrick Lamar has had a few killer videos over the last couple of years; Element by Jonas Lindstroem is one of them – a selection of beautifully composed snapshots inspired by Gordon Parks, which reflect Kendrick’s powerful lyrics. On the other end of the scale, is the animated video for Jay Z’s Story of OJ – that’s a huge political statement, and a fantastically crafted piece of filmmaking.

With the way music is consumed changing every year, is it getting easier or harder to reach people?

There are so many rich and diverse platforms that are music-driven, so access to music has hugely increased year on year and choice has expanded exponentially, but retaining audience engagement is the harder aspect to it. It’s proving more and more difficult to keep a person’s attention... Whether it is listening to a generated playlist, or watching content ensconced in music (like Boiler Room), there is so much variety to digest that a user can flit across as many applications as they please without fully immersing themselves in one place. Competition is high, and so are the subscription fees!

Bonobo plays Boiler Room 

What trends have you noticed in music and branded entertainment this year?

Recently we’ve received three different briefs from advertising agencies looking for directors to direct ‘music videos’ for original tracks which have been commissioned by brands who have worked in collaboration with artists. These have ranged from corporate conglomerates to fashion houses, to health products.

Whilst this isn’t a ‘new trend’ per se, it’s reaffirming that moving image and visually arresting ‘music video’ content digested on social media (in portrait particularly), is still a winning format, and any new piece of film that propels both a brand and an artist is proving strong currency.