Christmas ads 2021: the musical view
Much like Santa, Sascha Darroch-Davies, co-founder of specialist sonic branding agency DLMDD, makes his festive round, giving us his view on the audio choices (plus some choice cutting commentary) of some of this year's festive campaigns.
Credits
powered by- Agency dentsu mcgarrybowen/London
- Production Company Rogue Films
- Director Sam Brown
-
-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency dentsu mcgarrybowen/London
- Production Company Rogue Films
- Director Sam Brown
- Editor Paul Hardcastle
- Post Production Selected Works
- Audio Post Factory
- Chief Creative Officer Simon Lloyd
- Creative Director Sarah Bamford
- Creative Joe Stamp
- Creative Tom Prendergast
- Producer Helen Powlette
- Producer Polly Ruskin
- Executive Producer James Howland
- DP Ben Fordesman
- Production Designer Andy Kelly
- Post Producer Polly Kemp
- Music Chris White / UK (Composer)
- Music Sian Rogers, SIREN
- VFX 3D Francois Roisin
Credits
powered by- Agency dentsu mcgarrybowen/London
- Production Company Rogue Films
- Director Sam Brown
- Editor Paul Hardcastle
- Post Production Selected Works
- Audio Post Factory
- Chief Creative Officer Simon Lloyd
- Creative Director Sarah Bamford
- Creative Joe Stamp
- Creative Tom Prendergast
- Producer Helen Powlette
- Producer Polly Ruskin
- Executive Producer James Howland
- DP Ben Fordesman
- Production Designer Andy Kelly
- Post Producer Polly Kemp
- Music Chris White / UK (Composer)
- Music Sian Rogers, SIREN
- VFX 3D Francois Roisin
Coca Cola
You don’t need Dick Van Dyke to tell you that if your chimney was made from cardboard and gaffer tape you’d be toast before you can say bristles.
That aside, this is (of course) another epic holidays outing for Coke.
Relatively safe ground with the sentiment but they’ve devised a rather canny narrative to express it.
The score convincingly drives, realised though a luxurious and gargantuan arrangement of Chim Chim Cher-ee.
See what they did? Clevrrrrr!
Credits
powered by- Agency Karmarama/London
- Production Company Independent Films/London
- Director Gary Freedman
-
-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Karmarama/London
- Production Company Independent Films/London
- Director Gary Freedman
- Editor Adam Spivey
- Color Company 3/London
- Posts Production Absolute Post
- Music Major Tom
- Chief Creative Officer Nik Studzinski
- Creative Director Luke Ramm
- Creative Director Joe Holt
- Creative Fiona Moseley
- Agency TV Producer David White / (Producer)
- Producer Ciska Faulkner
- DP John Lynch
- 1st AD Benji Edwards
- Food Stylist Katie Giovanni
- Head of Production Daniel Breheny
- Colorist Jean-Clement Soret
- Color Executive Producer Ellora Soret
- Color Producer Chris Anthony / (Color Producer)
- Colorist Dominic Phipps
- Editor Tom Boucher
- Sound Wave Studios/London
Credits
powered by- Agency Karmarama/London
- Production Company Independent Films/London
- Director Gary Freedman
- Editor Adam Spivey
- Color Company 3/London
- Posts Production Absolute Post
- Music Major Tom
- Chief Creative Officer Nik Studzinski
- Creative Director Luke Ramm
- Creative Director Joe Holt
- Creative Fiona Moseley
- Agency TV Producer David White / (Producer)
- Producer Ciska Faulkner
- DP John Lynch
- 1st AD Benji Edwards
- Food Stylist Katie Giovanni
- Head of Production Daniel Breheny
- Colorist Jean-Clement Soret
- Color Executive Producer Ellora Soret
- Color Producer Chris Anthony / (Color Producer)
- Colorist Dominic Phipps
- Editor Tom Boucher
- Sound Wave Studios/London
Lidl
Good old Lidl keeping the fun alive… although there’s a couple of Xmas lunch faux pas to address…
- Rest your chosen meat stuff for at least 30 mins after extracting from the oven
- Do not feel pressured to buy a whole beef joint as a ‘side’ .. (does anyone do that?)
Truth is, we probably won’t be allowed meat in the future unless home-generated from plant matter and bovine DNA, realised via some sort of digital printing device. Less than happy days ahead folks!
Christmas song tombola presumably employed for the music choice here with Brenda Lee’s Rockin’ Around The Christmas Tree. I suspect too there was a conversation about ‘modernising’ the track in a pointless series of futuristic realisations to match the respective scenes.
Gladly, someone saw sense.
Credits
powered by- Agency The Pharm/London
- Production Company SMUGGLER/London
- Director Tom Hooper
-
-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency The Pharm/London
- Production Company SMUGGLER/London
- Director Tom Hooper
- Talent Jenna Coleman
- Chief Creative Officer Laurent Simon
- Creative Tom Reas
- Creatives Liam Riddler
- Producer Nick Fewtrell
- Executive Producer Sara Wallace
- Editor Russell Icke
- Assistant Editor Steven Waltham
- Executive Producer Annabel Bennett
- Post Production "Baseline Junkie" Dizzee Rascal
- Executive Producer James Beck
- Head of Audio Simon Bourne
- Audio Producer Richard Donaghue
Credits
powered by- Agency The Pharm/London
- Production Company SMUGGLER/London
- Director Tom Hooper
- Talent Jenna Coleman
- Chief Creative Officer Laurent Simon
- Creative Tom Reas
- Creatives Liam Riddler
- Producer Nick Fewtrell
- Executive Producer Sara Wallace
- Editor Russell Icke
- Assistant Editor Steven Waltham
- Executive Producer Annabel Bennett
- Post Production "Baseline Junkie" Dizzee Rascal
- Executive Producer James Beck
- Head of Audio Simon Bourne
- Audio Producer Richard Donaghue
Boots
This is what the people want at Christmas: a visual feast, a touch of magic, generosity in abundance, impossibly beautiful friends, family, baubles, bubbles… all the clichés!
Although serving a good turn, Miss Coleman’s awe of her grandmother at the end is a bit over-played and left a slightly stiltoney after taste.
The score however is impeccably arranged and recorded, a big cinematic ensemble piece checking in on the sentimental, the playful, the inquisitive, the bounding Christmassy gallop it’s all here and never gets tired or too saccharine.
Bravo, whoever wrote this! [NB; it was Rachel Portman]
Credits
powered by- Agency Pablo/London
- Production Company Agile Films
- Director Noah Harris
-
-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Pablo/London
- Production Company Agile Films
- Director Noah Harris
- Editor Work Editorial/London
- Sound Jungle Studios
- Music Birdbrain
- Chief Executive Officer Gareth Mercer
- Partner & Head of Planning Mark Sng
- Executive Creative Director Dan Watts
- Creative Director Charlie Gee
- Creative Director Tian Murphy
- Head of Production Tom Moxham
- Senior Producer Sophie Hughes
- Executive Producer Myles Payne
- Producer Jude Vermeulen
- Production Manager Laura Jenkins
- 1st Assistant Director Benji Edwards
- DP Tristan Oliver
- Art Director Andy Gent
- Food Stylist Katie Giovanni
- Animator Andy Biddle
- VFX Supervisor Luke Todd
- Colorist Simona Cristea
- Producer Johnny Fairburn
- Sound Designer Ben Leeves
- Music Supervisor Niall Rogers
Credits
powered by- Agency Pablo/London
- Production Company Agile Films
- Director Noah Harris
- Editor Work Editorial/London
- Sound Jungle Studios
- Music Birdbrain
- Chief Executive Officer Gareth Mercer
- Partner & Head of Planning Mark Sng
- Executive Creative Director Dan Watts
- Creative Director Charlie Gee
- Creative Director Tian Murphy
- Head of Production Tom Moxham
- Senior Producer Sophie Hughes
- Executive Producer Myles Payne
- Producer Jude Vermeulen
- Production Manager Laura Jenkins
- 1st Assistant Director Benji Edwards
- DP Tristan Oliver
- Art Director Andy Gent
- Food Stylist Katie Giovanni
- Animator Andy Biddle
- VFX Supervisor Luke Todd
- Colorist Simona Cristea
- Producer Johnny Fairburn
- Sound Designer Ben Leeves
- Music Supervisor Niall Rogers
Deliveroo
I don’t suppose Deliveroo’s intention is to ACTUALLY convince people they offer their service as a Christmas gift is it? Because of course, to do so would be as tasteless as a flaccid, two-hour old Big Mac; which is pretty much standard down at the arches, so heaven knows how much worse one could get delivered on a moped from across town!
The audio on this film is loud. I feel like I recognise the tune but there’s so much else going on I can’t place it.
Each listen (approx. 17) produced irritation and distraction either from voice or music or wind chimes.
It’s a clusterfuck of audio... with bells on.
Credits
powered by- Agency adam&eveDDB/London
- Production Company SMUGGLER/London
- Director Mark Molloy
-
-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency adam&eveDDB/London
- Production Company SMUGGLER/London
- Director Mark Molloy
- Producer Ewen Brown
- Production Manager Marketa Husecka
- DP Greig Fraser
- Production Designer Nathan Parker
Credits
powered by- Agency adam&eveDDB/London
- Production Company SMUGGLER/London
- Director Mark Molloy
- Producer Ewen Brown
- Production Manager Marketa Husecka
- DP Greig Fraser
- Production Designer Nathan Parker
John Lewis
If you’ve ever bought property that’s not new, you’ll no doubt have commissioned a surveyor’s report.
Disappointing, isn’t it, when you realise that the resulting lengthy and robust document is nothing more than a Word template sent out to 20 other people just with your details pasted over the [NAME HERE] bits.
I get that very same feeling when I see a John Lewis Christmas ad nowadays. Everything’s basically a template; feel sorry for me kid centre stage, unnecessary emotional spoon-feeding, famous pop song with all the fun/joy/real emotion of the original lipo-sucked out.
I really thought they’d broken the mould for good last year - new song, exciting new artist - but no, back to type with someone who sings like they just wet the bed.
Credits
powered by- Agency MOX/London
- Production Company Pulse Films/London
- Director The Rest
-
-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency MOX/London
- Production Company Pulse Films/London
- Director The Rest
- Executive Producer Lucy Kelly
- Producer John Bannister
- Editor Fouad Gaber
- Editing Trim
- Sound Designer Tom Heddy
- DP Pieter Snyman
- Audio Producer Beth Tomblin
Credits
powered by- Agency MOX/London
- Production Company Pulse Films/London
- Director The Rest
- Executive Producer Lucy Kelly
- Producer John Bannister
- Editor Fouad Gaber
- Editing Trim
- Sound Designer Tom Heddy
- DP Pieter Snyman
- Audio Producer Beth Tomblin
Sports Direct
People like me shop in Sports Direct for two reasons: because we’re overweight and can’t fit in jeans and/or because we’re after a cheap pair of kids football boots.
In other words this is not a sexy brand! So how is it they can attract such a fantastic cast of actual, real-life sports stars?
Yeah, yeah I get it, money talks, but fuck me, if I was Emma Raducanu I’d be WAAAAY more choosey about my brand partnerships. That said, it’s an entertaining piece overall expertly scored by comrade G. Farley, although it’s annoyingly interrupted on too many occasions for ‘narrative pace’ presumably; picky I know, but the reason this kind of musical treatment works for a chaotic scene is because it builds in speed an intensity.
On this film it doesn’t get the chance to fully deliver.
Credits
powered by- Agency Wieden + Kennedy/London
- Production Company Somesuch
- Director Raine Allen-Miller
-
-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Wieden + Kennedy/London
- Production Company Somesuch
- Director Raine Allen-Miller
- Editor Trim
- VFX Untold Studios
- Sound 750mph
- Music Mr Pape
- Executive Creative Director Susan Hoffman
- Creative Director Hollie Walker
- HP James Guy
- Producer Iona Patterson
- DP Olan Collardy
- Line Producer James Waters
- Editor Seth Wilson
- Executive Producer Tom Igglesden
- VFX Producer Ella Glazer
- VFX Lead Tom Moreland
- Colorist Jack McGinity
- Head of Production Martin Critchley
- Music Supervisor/Producer Paul Brown
Credits
powered by- Agency Wieden + Kennedy/London
- Production Company Somesuch
- Director Raine Allen-Miller
- Editor Trim
- VFX Untold Studios
- Sound 750mph
- Music Mr Pape
- Executive Creative Director Susan Hoffman
- Creative Director Hollie Walker
- HP James Guy
- Producer Iona Patterson
- DP Olan Collardy
- Line Producer James Waters
- Editor Seth Wilson
- Executive Producer Tom Igglesden
- VFX Producer Ella Glazer
- VFX Lead Tom Moreland
- Colorist Jack McGinity
- Head of Production Martin Critchley
- Music Supervisor/Producer Paul Brown
TK MAXX
Musical cover versions on Christmas ads are about as safe as the contents of Ed Sheeran’s pants, but this is far merrier than the aforementioned bedwetter variety.
Is there a thinly veiled message about being different highlighted by the song choice?
Who cares? It bangs!
Credits
powered by- Agency BBDO/New York
- Production Company Nexus Studios/USA
- Director Conor Finnegan
-
-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency BBDO/New York
- Production Company Nexus Studios/USA
- Director Conor Finnegan
- Live Action Production Co. Superprime
- Live Action Director Ben Quinn
- DP Tim Hudson
- Executive Producer Maddi Carlton
- Animation Director Conor Finnegan
- DP Malcolm Hadley
- Producer Doireann de Buitlear
- Chief Creative Officer David Lubars
- Creative Director Fred Kovey
- EVP, Group Executive Creative Director Matt MacDonald
- Group Executive Producer Diane Hill
- Senior Creative Director Eric Goldstein
- Senior Producer Melanie Cornish
Credits
powered by- Agency BBDO/New York
- Production Company Nexus Studios/USA
- Director Conor Finnegan
- Live Action Production Co. Superprime
- Live Action Director Ben Quinn
- DP Tim Hudson
- Executive Producer Maddi Carlton
- Animation Director Conor Finnegan
- DP Malcolm Hadley
- Producer Doireann de Buitlear
- Chief Creative Officer David Lubars
- Creative Director Fred Kovey
- EVP, Group Executive Creative Director Matt MacDonald
- Group Executive Producer Diane Hill
- Senior Creative Director Eric Goldstein
- Senior Producer Melanie Cornish
Macy’s
It appears Macy’s have given Christmas a lot of thought this year (seemingly many brands don’t).
Centring the campaign around BELIEVEing (something we’re wrestling with in this household with 10-year-old not willing to believe and committed to ruining it for the 7-year-old who wants to but knows deep down … well, ya know).
Anyway, the campaign also ties in with the Make a Wish Foundation and will feature a fully integrated rollout across all the antisocial media platforms.
Oh yes, the soundtrack… an expertly scored piece with furtive festive flavour applied.