Adland came calling. The best of Adland.

On the 19th September at 7pm, over 400 people walked in to the Electric Ballroom in Camden and demonstrated that we work in a very special, amazing industry. The reason was a devastating fire at Grenfell tower. The inspiration for the event came from one person, David Grainger. A month later and some frantic but effective campaigning and the team had raised 70K+, filled 70 tables and created a moment in time not to be forgotten.

The night itself was magical, friends and colleagues from across the industry, agencies both media and creative, publishers, tech firms all misled into this electric evening of music, emotions and love. Advertising is sometimes accused of being lightweight, pointless, not a serious industry but I was so proud of what we achieved in such a short period of time.

More importantly I feel like it was a release to be able to talk and write about something positive and uplifting in relation to the industry. So often the headlines are negative and I have written before that they will be the death of the industry as talent stops wanting to be part of it. This night however we saw the great side to our business, the side that shows we can react fast, that we care and that we are capable of doing good. We should not lose sight of that because behind the headlines lie thousands of good people working their socks off for their clients, trying to enjoy being in our business.

I cant extrapolate this one night to cover everything in our business but what I can say is that the headline writers, the intermediaries that deliver blows to media with glee, the consultants that pile on as they see an opportunity to make money for their short lived businesses need to stop and think about the good of the industry and all the great, passionate, caring, hard working people that populate it and not just a handful of seniors that really the headlines are about.

AdLondonCalling was a night to celebrate, to remember and we should use it as a reason to revel in a great industry and ask those out to tear it apart to think every once in a while about whether they are being too broad in their attacks. I love this business, I have loved agency side and now publisher side, we have a lot to be proud of, thanks Dave for getting this going, lets see how many other positives we can write about..

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Programmatic advancement? : Just look to Amsterdam

A few years back, around 2012/13 we discussed how we could grow Audience On Demand more quickly in the region. How could we support all those smaller markets that could not sustain headcount dedicated to programmatic and yet wanted to be part of the picture. Back then we set up the ‘Amsterdam Hub’ for AOD and the very talented Anke Kuik came in to run it for me. We quickly built a buzzy and vibrant business servicing 10+ markets and successfully growing the programmatic footprint of AOD.

As was widely reported, VivaKi eventually decentralised all these teams and so the hub was no more.  Soon after that, I worked on global programmatic strategy across top clients and had the chance to see, hear and contribute to their progress. In almost all cases the advertisers were going back to basics and evaluating their tech, strategies, data plan and more, they wanted to set some common guidelines to many markets. As a result of many of these pieces of work we saw the re-emergence of the hub. Amsterdam is a particular favourite but I think it is fair to say you can find them all over, in London, Paris, US and so on, point being, the Hub is back.

However the big difference with the new hubs, either at a client or agency level are they are there to support ALL markets, big or small. They are there to support tech, data and media buying across a whole range of markets and with that you see a huge shift in how media is being traded, more so than ever before. The true potential of these hubs is becoming a reality, something that has been promised now for some years but is really taking shape and with that shifting the way we all do business. On my side having been a founder of a hub and now on the other side and working with them, it creates a fascinating dynamic as you have to work on many different levels. You need local expertise talking to local countries. You need local people talking to central hubs, you need International teams talking to the hubs. Wow, thats a lot of talking. It is all work and needs lots of coverage of teams, especially where hubs are at an advertiser level.

The thing is, these all take work to start with, but the benefits very quickly become apparent, as the rhythm settles in and people get used to the system, create a list of key partners, know where to go for certain inventory, on the sell side you start to see the benefits, especially where you have such strong, brand safe inventory as Spotify. Suddenly the much vaunted efficiencies of programmatic become apparent and we all start to benefit. Once the heavy lifting is done on the agency side or clients side and all their markets are adjusted to this new way of working then they can spend less time on execution and more on increasing sophistication of offering. Creating trusted market places of inventory, consolidating inventory decisions, partner selection, data strategy can all become the primary focus areas rather than the previously disjointed, inefficient work that happened five years back.

With every passing year this model is really starting to come together and I thoroughly enjoy seeing it, in some ways, even more from the Spotify side. I think we are going to see rapid acceleration (as if it can get faster) in programmatic. The clients and agencies are doing a great job of organising around this new world and I am excited to see how it progresses in the next five years!

BertozziBytesize: Spotify data: A Mirror not a Filter

Meet Marco Bertozzi

We talk a lot about data at Spotify and how it shows a lot about how you listen to music. We have a tool that I love, which allows us to add our account and get a pen portrait on our listening habits.  Now outside of this we go to great lengths to add colour to this data but I could not resist checking myself out on this relatively simple analysis about my music listening. I was desperate to see if Spotify thought I was as uncool as most people say! Turns out, it’s not so bad. Perhaps the 152 plays of Waves was a bit much and the fact I generally like Pop, Deep House and House is not appropriate for a 45yr old, but hey – keeping it real..

‘Spotify says: Marco is in his forties and has recently been listening to music in United Kingdom, where he lives. During his 6 years on Spotify, he’s streamed 15,877 tracks, which is far more than the average user. Of those streams, 4,205 were unique songs; that’s also way more songs than average. Marco changes up when he listens based on the day of the week. He listens quite differently on weekdays and weekends. Marco doesn’t listen to Spotify on desktop, instead preferring to listen on his mobile device. Marco is a lean-back listener. He doesn’t engage much with the app when listening, often having Spotify in the background; he plays songs all the way through, often letting songs from radio stations play without interruption, and he rarely skips songs. Marco has recently been jamming to Rag’n’Bone Man and John Williams, though Sia and Calvin Harris are his favourites of all time. In the last few weeks, he’s had The Chainsmokers’s “Don’t Let Me Down” on repeat. And he has listened to “Waves – Robin Schulz Radio Edit” by Mr. Probz 152 times on Spotify – more than any other song. When you compare Marco with all active Spotify users, his listening is very diverse. He listens evenly across many genres, and these genres tend to be very different: Pop, House, and Deep house. He does, however, have a strong preference for listening at specific times of day to music of specific moods. For example, Marco chooses certain times of day that need more instrumental music. Marco tends to prefer listening to his favourite music, but lately, he has been listening to more new music than he normally does. Marco listens to some nostalgic music, but not particularly often. When in the mood, he listens to songs by Howard Jones, George Michael, and John Williams.’

Learn anything? Well you learned a lot about my moods, what platforms I am listening on, type of music and how it forms part of my day. This is just a snippet of how we can work with advertisers and power their moments marketing. Understanding People Through Music will give us all insights that cant be replicated anywhere. Spotify as the worlds largest music streaming service is in a unique position to help brands do this, its an exciting proposition!

NB: Some of the above tastes are swayed by my pandering to my son’s likes! Family account coming soon!

Have we reached ‘Peak Technology’

Original article in Campaign HERE

Cannes is fast approaching, so it makes sense about now for us discuss creativity and technology and how it works together to power our advertising future.

I wonder, though, whether the changes in advertising we have experienced over the past 12 months are going to have as much impact upon the event as the new need to register to walk into a hotel or get on a yacht.

This past year has been quite traumatic for the advertising community; the ongoing onslaught against programmatic, the questions about digital vs offline, and circular debates about which media channel is most influential.

These would all be the standard issues for an average year, until ANA-gate, which kicked off a huge surge of self analysis across the industry.

Procter & Gamble’s Marc Pritchard weighed in more recently and delivered the biggest mic drop – basically calling out the whole digital industry. And of course it did not end there.

Too many unfulfilled promises and uncovered secrets in terms of the micro-targeting, data offerings, media properties that are unsuitable, and not enough human eyeballs.

Enter stage left – The Times – and so the we hit rock bottom. Technology, data, programmatic, privacy, fraud, all in the spotlight.

It has felt like an endless stream of negativity, but what has it changed and how can we expect Cannes to reflect it?

The initial outcomes of all this introspection have been a drift towards a rejuvenation of interest in more traditional channels. TV, premium publishers and “safe” environments are having a renaissance, as advertisers worry about where their ads are appearing.

It feels to me that we have reached “peak technology” within advertising. Too many unfulfilled promises and uncovered secrets in terms of the micro-targeting, data offerings, media properties that are unsuitable, and not enough human eyeballs.

Now we see the need to have a reset – a fresh approach to how we connect with consumers.

It has felt like an endless stream of negativity, but what has it changed and how can we expect Cannes to reflect it?

Now, I’m not suggesting we are going to see an “anti-tech brigade” per se, but we will see a surge of realism… a step back.

In advertising we adore the creation of a powerpoint presentation. Yet we are all familiar with the feeling you get when you get lost in the weeds and eventually you have to say, “what are we trying to communicate?”

I feel that’s the same with our whole industry. I have worked in digital from the start, and we have done exactly that – we started to tell a story, a good one, but it got more and more convoluted.

We allowed other people to insert slides that were “really important” – adserving, retargeting, audiences, data, programmatic – until we are all staring at a mess of charts on the inside of a meeting room glass wall.

We are now looking to go back to basics. What are we trying to communicate?

Well, I suspect Cannes is going to be the echo chamber. Woe betide anyone who starts wanging on about data without substance, to my mind, I believe the industry is getting to the point where, if you don’t own that data, if it does not come from a reputable registration, you should keep quiet.

Stop paying for videos the moment they start playing. Take down the spend going to programmatic Adnets that won’t tell you where your ads appear. And let’s show our ads to humans.

Geo data, segments, match rates and most recently viewability numbers that only talk about desktop and not mobile, your time is up.

We are about to take a step back and look at that wall and rip up all those superfluous slides, get back to basics and start again.

Here is how it will look:

  • Everything begins with a great campaign idea. It begins with a strong hook, a smart idea, a utility that people want, a price people need.
  • It will be followed by some easy questions – did they see my ad? Did they see all of my ad?
  • Did they see my ad for the whole ad or majority of it?
  • Was my ad seen by a human?
  • Was my ad on a property that I would be comfortable with in terms of content?
  • Do I know where my ads were served?
  • Did my ads deliver some ROI?

Anyone remember taking this for granted 15 years ago? Well those properties exist today and there is lots of room for them.

What Cannes I hope will show is that advertisers need to pull down those slides that don’t fit that narrative.

Advertisers have to cut that budget that is being wasted and reinvest into premium publishers. Spend to your heart’s content with digital but make it quality – so stop persuading yourself that scrolling video is viewable and three seconds is good enough.

Stop paying for videos the moment they start playing. Take down the spend going to programmatic Adnets that won’t tell you where your ads appear. And let’s show our ads to humans.

I believe that advertisers could slash half their digital budget and reinvest in the publishers that deserve it – those that deliver audience, quality environments and humans. Our industry has been planning and buying based on muscle memory, and that has to end.

I have worked for 20 years in agency and a few months at Spotify. I am proud of what we are doing as a business and I want to challenge the industry to hit these standards. It is possible. And yes, Spotify does hit those standards, but so do others.

Let’s take the blinkers off, rip off those slides that add nothing to the narrative, and ask the biggest players in town to shape up, and to leave room for them and the other premium publishers.

Let’s cut the dross, and I hope Cannes will shine a light on quality and cast a shadow over the kind of behaviours that will finish our industry and ruin the presentation
Read more at http://www.campaignlive.co.uk/article/reached-peak-technology-its-time-reset-digital-media/1436267#XA4X1cD4BcGXQ3jx.99

Viewability wreaking HAVOC on your media plans?

A guest blog from Our Video lead – Brian Danzis – Spotify are leading the way in quality content

For Brands

[spmarket 2]

When it comes to viewability, what you see isn’t always what you get.

It seems that every day brings a negative report about unseen advertising, wasted investment or misrepresented metrics by large publishers. Concerns over fraudulent traffic and the re-emergence of silent, auto-play, small-player video are raising new questions about the definition of a video view—a concept that once seemed straightforward.

The industry is calling on its leaders to take action. Procter & Gamble’s Chief Brand Officer, Marc Pritchard, gave a widely lauded speech at the IAB Annual Leadership Meeting in January, announcing new requirements for the company’s media vendors to clean up the supply chain. He spoke on this subject again this week at 4A’s Transformation 2017. We’ve also seen brands and agencies recently remove their content from platforms in response to questionable user generated content. At Spotify, we’re thinking hard about product innovation and third-party measurement…

View original post 1,427 more words

My MandM Global piece on ‘Understanding people through music’

First published here

Some classic disco to jump-start the morning, a slice of soothing folk to assist concentration at work, a bit of roaring heavy metal in the car on the way home, and some easy-listening jazz to accompany dinner-time cooking – well, you get the idea.

Sound like your ideal day? Almost certainly not – everyone has their own music tastes. For many of Spotify’s 100 million-plus registered users, that playlist would include Ed Sheeran, who nearly ‘broke’ the platform with 273 million streams of his latest album within days of its release.

Either way, Spotify claims those listening habits are enabling it to help brands create more relevant advertising experiences.

Former Publicis executive Marco Bertozzi joined the streaming service as vice president, Europe, and head of sales late last year. Speaking to M&M Global ahead of his participation as a speaker at Festival of Media Global 2017 in Rome, Bertozzi said that, prior to his move, he had not considered Spotify’s potential for multi-device, day-long storytelling.

“Our core audience is listening to Spotify two-and-a-half hours a day across all different devices. The one USP I hadn’t thought about when I came in is our ability to communicate with people right through the day,” says Bertozzi.

“Even if they have their phone in their pockets, or they are in the car where they won’t be watching video, we have the audio to be able to communicate. That helps us to talk to the consumer right through the day, and I don’t think anyone else can do it.”

Marco Bertozzi, vice president, Europe, head of sales, Spotify
Marco Bertozzi, vice president, Europe, head of sales, Spotify

‘STREAMING STATE OF MIND’

Bertozzi will be attending Festival of Media Global in part to discuss ‘The Streaming State of Mind’, a report published last year in partnership with WPP’s GroupM, exploring the growth in streaming of music, TV and movie content across North America, Europe and Asia Pacific.

Thanks to the likes of Spotify and Netflix, streaming has become a prevalent form of digital content consumption, especially with younger Millennial and Gen Z users. The majority (60%) of this streaming is also being carried out using mobile devices throughout the day.

The report concludes that ads on streaming platforms targeting consumers during specific moments of the day – from commuting to working out at the gym – represents a $220m opportunity in the surveyed markets alone (the US, Canada, the UK, France, Germany, Sweden and Australia). These numbers are music, quite literally, to Spotify’s ears.

To help advertisers reach the right users at optimal moments, Spotify has opted to turn its back on the co-called ‘walled garden’ ethos of Google and Facebook in favour of a more open and collaborative approach to data – within, of course, privacy parameters that listeners find acceptable.

“Our challenge is to make advertisers realise they can work with us in all these different ways”

Last month, Spotify partnered with Acxiom-owned ad tech company LiveRamp to allow brands to combine their first-party data with its own. Currently being tested in the US, with Europe and other regions to follow, Bertozzi claims this style of ‘people-based’ marketing will finally surpass the old cookie method, and help marketers to improve both targeting and their understanding of campaign performance.

“The sophistication around data-driven marketing is going to continue to grow. A couple of years ago, people would have described using third-party data as being ‘data-driven’. I think we have now moved to an era now where it is more focused on CRM, custom audiences and data matching,” he says.

“[The RampUp partnership] is going to be a really big deal for us, as – in terms of opportunities and capabilities – it puts us in the same league as the Facebooks and Googles of the world.

“It allows us to have much more in-depth conversations with our advertisers, in understanding their audiences better and being able to target and create audiences, [as well as] tracking sales, because you have matched the data. That is a huge play.”

UK supermarket chain Sainsbury's became the latest brand to test Spotify's Branded Moments format
UK supermarket chain Sainsbury’s became the latest brand to test Spotify’s Branded Moments format

AUDIO-VIDEO-DISPLAY TRINITY

For Bertozzi, Spotify’s core digital audio takes the “personal link” and “intimacy” consumers have long enjoyed with radio as a medium, and offers advertisers contextual benefits. “It’s the best of both worlds,” he insists.

As well as its bread-and-butter music industry campaigns, Spotify has been looking to dial up the creativity of its ad deals. In the UK, supermarket chain Sainsbury’s has used the platform’s Branded Moments format reach consumers in the kitchen while they are preparing meals – and working out plans for their next grocery shop. Disney, meanwhile, also selected Spotify for an elaborate music-themed campaign to promote its latest movie release, ‘Beauty and the Beast’.

A key challenge, however, remains, namely in the need to drive awareness among brands that Spotify – famous for its audio services – offers the full suite of video and display ad formats.

“Advertisers like the fact they can combine video, display and audio as a single campaign, connecting channels that used to be very siloed. That helps us to do more of that storytelling that brands talk about,” says Bertozzi.

“There is an opportunity for pretty much any advertiser to work with us. We talk about the power of audio as one of our key narratives, but we’re talking about it in the sense of people listening to music and podcasts. From an advertiser point of view we are a multi-channel experience, and our challenge is to make advertisers realise they can work with us in all these different ways.”

And to the big question – can anyone (or anything) top Ed Sheeran’s incredible strangle-hold on Spotify playlists in 2017?

“Very good question,” chuckles Bertozzi. “It’s hard to see anybody coming up behind Ed Sheeran any time soon. I guess it will be if someone, somewhere could persuade Taylor Swift to come back, but that is well above my pay-grade!”

Marco Bertozzi will be speaking at Festival of Media Global 2017. Click here for more details.