Radio break down: Fear and loathing the ads of Las Vegas
The most awarded radio creative in the world Ralph van Dijk listened to a real ad break on his travels to Las Vegas – here’s his verdict.
I recently spent a week in Las Vegas judging the London International Awards (yes I’m aware that makes no sense) and during my usual scan of the local airwaves, I recorded an ad break from Old School 105.7. It’s typical of ad-breaks heard on local radio stations around the globe.
Once again I’m reminded of the grand canyon that separates the ads that get entered into awards and the ads that fill our airwaves.
It was hard to be constructive about this lot as none of the ads even attempt to use creativity to cut through and engage the audience.
The eureka moment for me when I started out in this industry, was discovering how important it was for the listener to be the co-author of your ad. If you can get them to visualise a scene or imagine themselves using the product, the ad will leave a lasting impression.
Sadly the only impression these ads left was the one on your channel-changing finger.
But the big issue is that ad-breaks like this, whether heard on radio or seen on TV, still exist. Advertisers large and small need to be educated about the importance of creativity and media owners need to take more responsibility. Because if they continue to turn a deaf ear to the way advertisers talk to their precious audience, I fear they’ll have much bigger issues to contend with.
Hear the ads here:
Ted Wiens (2x30sec played back to back. No idea why)
Writers of ads like this have a very clear idea of their target audience. Unfortunately that audience is the client. You can hear all the mandatories being checked off one by one; “11 locations”, “$10 rebate offer” (such generosity), “Chevron oil”, “Michelin tires” (that’s the subsidy sorted) and even a list of specific features found in a “darn good tire”.
It may sail through client approval, but it’ll sail right past the listener.
Window World (60sec)
So many voice-overs on TV and radio don’t seem to have a clue what they’re saying.
You can almost hear this guy’s finger. Being. Placed. Under. Each. Word. Emphasizing. Everything. Just. In. Case. It’s. Important.
As a result, nothing stands out and the message is lost. Cast an actor next time and ditch the forgettable phone number.
Smiths
The two places you’ll hear the worst acting on the planet are radio ads and pornos (apparently).
Smith’s may have juicy boneless pork loins and large avos, but if the listener doesn’t believe who is telling them, they won’t believe what they’re saying.
Lucky for them they have such a memorable brand name.
Crabbies Ginger Beer
The VO’s accent does a complete tour of the British Isles before settling on a version of Scott-rish.
But even if you were distracted by the accent, you can find out everything you need to know by downloading their free ginger beer app. Wait, what?
SLS Las Vegas
I was actually staying at the SLS. It’s a typically stylish, well designed, minimalist Phillip Stark hotel.
However, thanks to this ad, their image is more skank than Stark.
EVERY ad says something about your brand whether you like it or not.
AAA
Local announcer Russ Langer is the radio play-by-play voice of UNLV Rebels – so locals associate his voice with the excitement and energy of a big game.
So why get him to read a shopping list? Celebrities never sound more awkward and more ‘bought’ than when they’re reading words they’d never say in a style that’s not their own.
Even he leaves before the end of the ad.
Planet Nissan
60 seconds of sheer shouty hell. Radio is a one-to-one, intimate and conversational medium and the ads should be sympathetic to the environment.
With increased competition for the listener’s ear (podcasts, streaming music etc), radio stations that play abrasive ads like this risk losing listeners for good.
Fantastic Indoor Swapmeet
Fantastic has a 3-acre hanger filled with 450 small businesses selling cheap, end-of-line items. The ad doesn’t need to be sophisticated, and the focus should be about supporting local businesses.
But they throw so many messages at the listener, in such a confusing order (e.g. ‘supporting breast cancer – a real circus”) you’re left with a Fantastic mess.
Old School 1057 Promo
Station promos and imaging is a category all of its own. The sound engineer chooses 89 of his or her favourite bangs, whooshes, whistles and filters and attempts to dress up a series of non sequiturs disguised as a script.
The words ‘vessels’ ‘empty’ ‘most’ and ‘sound’ spring to mind.
It seems fitting that the first song after the break is all about trying to capture someone’s attention. Needless to say, “they’re never gonna get it”.
- Ralph van Dijk is the founder of Eardrum
I wrote retail radio ads for Hyundai. The idiot client could never get enough “retail energy” out of the voice-over guy. He seriously though an actor wetting his pants with enthusiasm would sell more cars than an actor talking with conviction.
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Peter as TV and radio ad breaks around the world confirm, there’s a fine line between ‘retail energy’ and desperation.
Snap Ralph. I just got back from 6 weeks in a car through US and Canada. It’s identical to the Australian radio malaise. That’s why I think workshops with station writers is far more critical to the future health of radio than workshops with agency creatives. That’s where 80% of the crap emanates and where we could make a much bigger difference to the quality of that medium.
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Ralph makes some interesting points . But in the case of the window ad I don’t agree with him .You don’t have to be creative for the sake of being creative . Some ads are there to provide solid info and this one does it well. It does stand out because the sorts of things mentioned in the ad are what people looking to purchase windows want to know .
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I have been involved with radio and radio advertising for a long time, probably longer than most. I have seen changes, cyclical ideas and genuine innovations.
Some radio ads are simply a list of goods and services, others are slightly, more, or much more deeply informational. The worst thing that can happen to Radio advertising is that the client should have any input whatsoever when it comes to creativity. I once washed my hands of a client who told me that the factory sound effect behind the voice over did not sound like the interior of his metal working factory.
I have lost others who told me they didn’t like the theme music, because it didn’t reflect their personal taste in music.
The problems are easily diagnosed, the fact that most clients perhaps can’t sing, but can certainly talk makes them think they know radio. Too many value radio at some point below TV, video, film, or print. The method of delivery of ads is also important, drive time listeners will shut off if varying ads are grouped in long runs. All your creative efforts are dampened and even executed by saturation.
This is just the beginning of a much longer lecture…….
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Good to see comments about Radio Imaging, which I have been building for 20 years. It used to be all about making it louder on younger brands and more involved pieces to cut through. Some of that can still work, but let people breathe especially after an ad break where you’ve been made to listen to a lot of messages already. That amazing point where cool meets informed can’t be wallpaper and a quicker than quick dead pan delivery anymore. That’s usually how old voice guys try and stay on CHR stations (they don’t mind putting their fee down either). BTW – I love ‘Even he leaves before the end of the ad’ !!
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