shots Awards 2016: Best Use of Music

If you're anything like us, you're probably only just recovering from the glitz and glamour of the shots Awards 2016, which took place in early November. If your memories of the night, and who won what, are a tad hazy, then fret not: over the coming weeks, we'll be shining a light on the gold winners in each category, gaining insight into the work that won and the creative processes of those behind it.

Best Use of Music in a Commercial

Gold winner: Channel 4 We're the Superhumans

Below, Abi Leland, founder and MD of Leland Music, talks about sourcing the spot's toe-tappingly triumphant track.

At what point did you get involved with the spot and what was the brief you received?

Dougal Wilson called me in January when he was developing his idea. At that stage he knew he wanted a band made up of musicians with disabilities to be performing in the film, so he wanted me to help him find the song. He was originally thinking of something more gritty and well known, maybe something a bit more punk rock, but was at the stage of just needing to look at the possibilities in order to then structure the script around the song.

What was the process of finding the right track for the spot and how long did it take to reach the decision to use a version of Sammy Davis Jr’s Yes I Can?

Dougal was right in the middle of writing his idea so he wanted to find the song very quickly, I think we only spent a couple of days researching. I wanted to be able to give Dougal some different approaches with regards to lyrics and style. Yes I Can had quite a different vibe to other songs I sent him and was the least well known, but the lyrics and feeling of joyful defiance were spot on and Dougal just ran with it. Everyone became attached to it straight away.

The song was re-recorded by The Superhuman Band, who also appear in the film – how involved were you in researching and bringing together the musicians?

Dougal and Blink Productions had already started sourcing musicians from all over the world from very early on (I think in November), and then Rose Waite at Channel 4 also sourced them. So hats off to them!

Could you tell, when you saw the finished film, that it was going to be something special?

As everyone knows, Dougal is very meticulous so when I saw the edit of the film it was literally his storyboard brought to life. It was obviously a very special and brilliantly crafted film and the recognition and success it has received is fantastic. But, right from the start of the project it was a special film to be part of. I was already a fan of the previous Paralympics spot (Meet The Superhumans), and the vision that Channel 4 had to take it to the next level was very motivating. Dougal, Blink and the team at Channel 4 were incredible to work with and very collaborative. When we started working with the musicians and the singer Tony it was a humbling and inspiring experience. The skill and strength of character from each of them was amazing.

What was the most challenging part of the process and how long did your part in the commercial take?

We worked on the project from the start of the year through to its launch. From sourcing the song to supervising the musical arrangement; managing rehearsals and the recording; securing the release of the track, and co-ordinating the performances for the live events and TV shows. I’d say the most challenging part was the recording day at Abbey Road. We had to squeeze what should have been two recording days into one, so we were under some pressure. The musicians were from all over the world so coming together and recording at Abbey Road was a very special experience for them. We knew what we had to achieve from the day from a production perspective, but we also wanted the band to have a positive and memorable experience.

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