Campaign Middle East - April 2024

OF THE YEAR

Thanking our partners for their trust, and our team for their relentless efforts!

Part of the Family

Khaled Al Shehhi unveils new sustainability initiative at Dubai Lynx

Khaled Al Shehhi, Executive Director of Marketing and Communication at UAE Government Media Office, took to stage at the Dubai Lynx to announce the launch of a new initiative Ad Net Zero.

“This initiative, a project close to my professional journey in the UAE, is not just a response to a global climate emergency; it is a bold statement of our commitment in the advertising industry.”

Ad Net Zero is a global initiative

committed to reducing greenhouse gas (GHG) emissions in the advertising sector.

Highlighting the significance of the initiative in the country, he said: “With 2023 and 2024 declared as the Years of Sustainability by the UAE President, His Highness Sheikh Mohamed bin Zayed Al Nahyan, and the successful culmination of COP28 in Dubai, the message is clear: Sustainability is not optional.”

Its launch in the region is aimed at

decarbonising the UAE’s advertising sector and encouraging sustainable behaviour change through advertising.

“This isn’t just an initiative for the advertising industry; it’s a universal call to action. Every individual, business, and sector can make impactful contributions toward our sustainable future. Let’s unite in this vital effort,” added Al Shehhi.

The initiative was launched in the region through a strategic alliance

between Advertising Business Group (ABG) and Ad Net Zero.

By partnering with Ad Net Zero, the ABG aims to help the advertising industry contribute to the UAE’s net-zero goals and promote responsible consumption and production.

The announcement was followed by a panel discussion at Dubai Lynx between Priya Sarma, Sr. Sustainability and Corporate Affairs Head at Unilever Middle East & Turkey, Carat MENA CEO Ramzy Abouchacra and Eleni Kitra, Executive Director of the ABG.

The panel discussed the future of sustainability in the regional advertising industry.

Ad Net Zero is set to launch in the UAE with its founding supporters Google, META, Unilever, Group M, MCN, Dentsu, Publicis Groupe and Omnicom Media Group. The launch of the chapter will serve as the regional hub for MENA.

ABG has invited companies to become Ad Net Zero supporters.

As supporters, these companies will need to set net zero targets, and measure and report their progress annually. The ABG will also provide guidance and support to the companies to help in the process.

The launch of the initiative follows ABG’s recent unveiling of its sustainability agenda.

The agenda focuses on building a more sustainable sector through emissions reduction, closing the industry wide sustainability knowledge and skills gap, and empowering the industry to combat greenwashing practices.

Are you a Face to Watch in 2024?

Campaign’s Agency Faces to Watch 2024 is back to profile the brightest and best young talent aged 30 and under working agency-side in creative, media, digital and PR agencies in the MENA region.

Every nominee must be put forward by a senior manager within their own company or by a client they have worked with.

MCDONALD’S AFTER-DINNER DINNER

Heriot-Watt University Dubai has partnered for a fourth year with Campaign Middle East for Campaign’s annual Agency Faces to Watch list, offering a chance to win five scholarships for master’s degrees in digital marketing at its Edinburgh Business School in Dubai.

Candidates will need to submit a 500-word essay to qualify for the scholarships.

For more information, please visit www.campaignme.com.

The deadline for submissions is 5 April, 2024.

McDonald’s UAE and FP7 McCann launched a campaign to promote late-night dining experiences at McDonald’s branches in Dubai. Customers could exchange their expensive fine dining bill from that evening for a select free McDonald’s meal. The idea was conceived by FP7 McCann Dubai, who first noticed the customer behaviour and decided to put a fun spin on it by poaching fine-dining customers from their usual hangout spots and sending them to McDonald’s.

The Advertising Business Group and Ad Net Zero partnered to launch the initiative in the region.

Region’s young talent recognised by Roger Hatchuel Academy and UAE Young Lions Digital Competition

Motivate Media Group and Motivate Val Morgan, the official UAE representatives of the Cannes Lions Festival of Creativity, have announced that Clara Armanious, a senior student majoring in Strategic Communication and Marketing at Murdoch University Dubai, has been selected to represent the UAE at the prestigious Cannes Lions Roger Hatchuel Academy 2024.

Armanious was selected by the Roger Hatchuel Academy Jury Panel based on her submissions.

Commenting on being chosen to be a part of this year’s Roger Hatchuel Academy, Armanious said:

“Representing the UAE at the esteemed Roger Hatchuel Academy at the Cannes Lions is an honour and a milestone that will forever hold a special place in my heart. This would have never been possible without the support of my Murdoch University Dubai family.”

Joseph John Nalloor, lead of the Media and Communications discipline at Murdoch University Dubai, said: “It’s a great honour for our student to be selected and it is a reflection of our strong industry-academic partnership that we have in place for our communication students,” he added.

Ian Fairservice, Managing Partner, Motivate Media Group, said: “I’m sure Clara will display her remarkable talent and shine a spotlight on the vibrant creative landscape of the UAE.”

The Roger Hatchuel Academy will see 30 students from around the world participate in a six-day programme to learn from the world’s greatest brands, creative minds and industry experts.

The Academy will run alongside the Cannes Lions Festival from 16th to 21st June 2024. Motivate Media Group and Motivate Val Morgan also hosted the UAE Young Lions Digital Competition, as the official UAE reps of the Cannes Lions International Festival of Creativity.

Nayan Ganegoda and Braeden Bihag from Almost Impossible Agency won Gold. Ganegoda and Bihag will receive a full week’s delegate pass and an all-expense-paid trip to represent the UAE at the International Young Lions Digital Competition – part of Cannes Lions.

Jolanda Van Rooyen and Jean Pierre Deaibes from Publicis Middle East claimed Silver, while Francesco Negri and Michelle Co from FP7 McCann took home the Bronze. The client brief was from Every Can Counts, a non-profit organisation dedicated to promoting awareness about recycling aluminum drink cans.

This year introduced a new section for honorable mentions. These were Faten AlMukhtar and Sevval Asena Celik from TikTok, and Anzan Nahas Mohammed and Kezia Shamil from Leo Burnett. The competition for the digital category saw 23 teams from agencies, client-side creative teams, and freelancers.

Clara Armanious (left), Nayan Ganegoda (middle) and Braeden Bihag will all be heading to the Cannes Lions Festival of Creativity.

InsuranceMarket.ae wants its mascot Alfred to be the face of Dubai

In an interview with Campaign Middle East, Avinash Babur, CEO at InsuranceMarket.ae, outlined the company’s marketing strategy. While Alfred’s ‘InsuranceMarket. ae’ jingle is frequently heard on UAE radio stations, the brand also wants his face to be just as easily recognised.

“Alfred, as the embodiment of InsuranceMarket.ae’s values, has the potential to be not just the face of our brand but a symbol of innovative service in Dubai,” Babur said. For more than thirteen years, InsuranceMarket. ae has been using radio’s widespread reach to engage with its audiences in the UAE. It is also emerging as a leading advertiser in the Out of Home (OOH) space.

While some have called the jingle ‘annoying’, Babur admirably takes the criticism. “We value all feedback, understanding it as a vital component of our continuous improvement process. Our goal is to be memorable and effective, and many of our KPIs demonstrate that we are loved and trusted by much of the UAE population when it comes to their insurance requirements.”

His strategy is “to balance

RTA brings new ad opportunities

creative content and message frequency to ensure we remain in our audience’s minds as the leading insurance provider in the UAE. We see criticism as an opportunity to refine our approach and further cement our status as a market leader who listens and adapts.”

This strategic use of radio has enabled InsuranceMarket.ae to maintain a consistent dialogue with its customers, making insurance more relatable.

Its OOH advertising “strengthens our brand identity, especially putting a face to the name of our brand mascot Alfred, reinforcing our status as the premier choice for insurance in the UAE”. Its integrated marketing approach spans a broad digital landscape, including social media, search engines and key online platforms. It has more than one thousand OOH assets include large billboards and mupis.

InsuranceMarket.ae asks people to share photos of its billboards on its social media channels. “Our community of fans is a vibrant testament to our brand’s impact, showcasing the loyalty and enthusiasm of our customers,” Babur added.

Dubai’s Roads and Transport Authority (RTA) said that it will be introducing 4,500 new interactive screens in taxis.

The screens will provide passengers with lifestyle, news, and entertainment updates plus promotions and offers.

The introduction follows a pilot of the in-car interactive digital screens across 250 taxis by the RTA back in 2022.

The initiative was launched in collaboration with the e-hailing taxi solution provider Hala and passenger experience company Binary Media.

The project was inaugurated through a signing ceremony event attended by Ahmed Bahrozyan, CEO of Public Transport Agency at RTA; Khaled Nuseibeh, CEO at Hala; and Santosh Sarma, CoFounder and CEO at Binary Media.

Ahmed Bahrozyan said: “We are delighted to collaborate with Hala and Binary Media to deliver an immersive travel experience that offers curated informational and entertaining content during a customer’s commute.”

The new screens will also create new opportunities for advertisers.

Khaled Nuseibeh, Chief Executive Officer at Hala, said: “All our customers can soon enjoy the added benefit of discovering and accessing relevant local offers and promotions during their rides.”

Navigating the quest for love in the Middle East presents unique challenges, given the cultural norms and social dynamics in the region. The campaign captures the wild journey of dating in the region. The social films feature illustrations by Lucas Sales and immersive sound production by Vox Haus, which dive deep into the challenges singles face in both the UAE and KSA. It offers local relatable narratives with a touch of humour and an inspiring message.

The campaign featured former unified World Heavyweight Champion Anthony Joshua and former MMA Heavyweight Champion and new Heavyweight Contender Francis Ngannou.

The film sees Joshua and Ngannou facing off in New York in the early 90’s bumping heads and fists, sending each other flying across continents and countries. It served as a promotional trailer for the Riyadh Season fight between the two in Saudi Arabia.

Agency BigTime Creative Shop Production Academy Films Post-production The Mill Sound Production BMM Network

InsuranceMarket.ae’s mascot Alfred

MOTIVATE MEDIA HITS MAJOR MILESTONE AS

IT TURNS 45

In June 1979, the UAE witnessed the birth of a new communication dynasty – with the launch of What’s On, the Gulf’s first English magazine. This was the first stone of what was to become the Motivate Media Group.

In its epic 45 year journey between then and now, Motivate has been on a path of evolution and innovation – from print to digital, from local to global, from events to festivals, from cinema advertising to influencer agencies, from book publishing to podcasts, inflight magazines, joint ventures, content creation, surface aerials, corporate partnerships, talent representation, and celebrity collaborations.

The list is impressive and long. Motivate Media’s portfolio also includes industry-defining award ceremonies, which has helped the group expand its reach to a combined audience of millions.

“Our mission is, and always has been, to inspire, to create conversation, challenge convention, to communicate, innovate and Motivate. Always striding forward, always in reverence of the past,” said Ian Fairservice, managing partner at Motivate Media Group.

Earlier this month, What’s On and Motivate Media Group marked the monumental anniversary at the What’s On Dubai Awards 2024, which took place at the Dubai Media City Amphitheatre. It was What’s On’s biggest ceremony to date, perfectly fitting for the extra celebration of the 45th anniversary.

A beautiful cake was part of the celebrations, which included HE Imanishi Jun, Consul General of Japan to Dubai and the Northern Emirates; HE Oliver Christian, His Majesty’s UK Trade Commissioner for the Middle East and Pakistan, and British Consul General to Dubai.

As for the next 45 years and more, stay tuned.

The monumental anniversary was celebrated at the recent What’s On Awards 2024 with over 1,200 guests in attendance

Rental, Set, Done

Al Masaood Equipment Rental offers rental solutions for events across the UAE

Abu Dhabi’s activities scene is buzzing like never before. With ongoing exciting events, the city is a hive of activity, pulsing with the energy of both public and private gatherings. It’s a place where the global community comes alive, uniting to share, celebrate, and create cherished moments.

As the calendar of events becomes increasingly packed, the collaboration of multiple parties is essential to enable attendees to engage and create unforgettable experiences. It’s clear that a crucial element for any successful event is robust logistical support throughout both the planning and execution phases.

We can see how logistics has evolved in today’s world, affording cost-effective rental options that streamline operations for event organisers. A reputable rental company will not only fetch all the necessary equipment but will also keep our guests safe and create a distinctive atmosphere for events of various natures.

By Norma Shaheen, General Manager, Al Masaood Equipment Rental

fleets of rental solutions that can be tailored to fit the needs of every moment.

From sports days to fairs and exhibitions, product launches, and many more, Al Masaood Equipment Rental’s site requirements cover all logistics provisions including fencing and barriers, temporary structures such as site offices, showers, mosques, modified containers, industrial kitchen units, ablution units of different sizes and layouts, power generation, and mobile lighting.

For nearly a decade, Al Masaood Equipment Rental has rolled out rapid solutions to support both large and small-scale events in the UAE. This reflects their commitment to facilitating the goals of Abu Dhabi and the UAE as a hub for international tournaments and stages.

to add value and better serve the companies and

Al Masaood Equipment Rental L.L.C, the rental arm of Al Masaood Group, took the lead in this prime opportunity to deliver rental solutions for events across the UAE. The division’s tech-driven products are custom-designed to add value and better serve the companies and event attendees alike. We have seen events that run anywhere from one or two days to ones that extend to months on end. In response, Al Masaood Equipment Rental offers customers both shortand long-term lease options. On a daily or monthly basis, the division provides 24-hour support services for water and waste management, cleaning services, as well as consumables to ensure successful and smoothly running events.

to months on end. In response, Al Masaood shortmonthly basis, the division provides 24-hour cleaning services, as well as consumables to smoothly

SYNERGIZING EVENTS IN THE UAE

As the leading supplier of a multitude of events in the country, Al Masaood Equipment Rental’s products are a way to elevate a venue to the next level, enabling our ability to innovate by using spacetransforming temporary buildings. Their products and services cater to various

Recently, Al Masaood Equipment Rental has significantly contributed to the success of landmark events such as the UAE Tour, ADNOC Abu Dhabi Marathon, Abu Dhabi Run and Ride, Dubai Run, Emirates Dubai Rugby 7s, Mother of the Nation, Abu Dhabi’s Spartan Competition, Market Outside the Box (MOTB) Dubai, Sheikh Zayed Festival, Abu Dhabi Boat Show, and many others, showcasing the company’s ability to handle diverse and challenging logistics requirements.

In one of Abu Dhabi’s most high-profile events hosted by Yas Marina Circuit, Al Masaood Equipment Rental has extended logistical support, presenting over 150 cabins, ablution units, facilities for People of Determination, offices, kitchen units, reefers, storage, accreditation offices, and tower lights.

With years of experience in diverse projects and festivities, Al Masaood Equipment Rental continues to reshape its product lines with sustainability at its core to respond to the constantly shifting demands and requirements of all businesses in the UAE and GCC.

In one of Abu Dhabi’s most high-profile events hosted cabins, ablution units, facilities for People of product sustainability at its core to respond to the constantly in UAE

To find out more about Al Masaood Equipment Rental L.L.C, please contact Norma Shaheen, General Manager, at +971-565074834, e-mail norma_shaheen@ masaood.com, or visit our website at www. masaoodequipmentrental.com

Building a bridge to growth

The impact Out of Home has had on communication cannot be undermined, argues Saudi Signs’ Hasan Zaini

Saudi Arabia is currently experiencing unprecedented progress, development, and enhanced market competitiveness due to the objectives outlined by Vision 2030 and its effective implementation across various sectors. This transformative change has ushered in a multitude of reforms, significantly impacting residents, tourists, and investors, which have helped pave the way for increased opportunities and economic growth.

With a market value set to exceed SAR 3 billion, the out-of-home (OOH) advertising sector is an example of a yearon-year growing beneficiary of said reforms. Repeatedly proving its communication effectiveness for public and private entities, outdoor within the kingdom has become greatly complementary to the rapid urban expansion, population growth, social shifts, and increased dependence on mobility. Certainly advantageous, its sustained growth is also dependent on long and short-term investments made by the sector. Proving resourceful, the impact OOH has had on communication cannot be undermined.

In saying so, for over three decades Saudi Signs Media has played a fundamentally active role in creating unique advertising opportunities and implementing highly regarded large formats recognised by stakeholders across the region serving both tactical and equity campaigns. The company’s commitment to elevating market standards over the years through exceptional product options, client servicing, and flexibility has positively supported brands in their quest to raise awareness and deliver notable outcomes.

Looking ahead, Saudi Signs Media is set to introduce several new formats to the market. This includes digital screens in Dammam and Khobar (April 2024) measuring 8m x 8m. Predominately located on high traffic intersections, the digital screens will be the latest addition to the eastern province OOH landscape.

Additionally, advertisers will have access to a diverse range of new indoor and outdoor formats of various sizes and types in the heart of Riyadh. This new project currently being undertaken will for the first time enable brands to enjoy strengthened association and presence in one of the most exclusive developing areas of the city. The targeting of audience segments fitting the profile of this vicinity has been devoid in the past and long sought after; details of which will be announced at a later stage.

“Saudi Signs Media remains committed to advancing the industry by continuously innovating”

Furthermore, in 2023 a major partnership was inked between Saudi Signs Media and Rotana Media Services which together saw the establishment of a new entity called Rotana Signs. Headquartered in the capital, Rotana Signs will operate and manage the recently awarded Digital Tower Facades across Riyadh and Dammam. Totaling 24 facades, these premiere and highly anticipated formats are set out to not only redefine the branding experience within the kingdom’s outdoor space, but also elevate industry standards and set forth a new precedent.

not only redefine the branding

With a highly digitized inventory, it has become ever more apparent that brands are embracing tactics such as dayparting, multiple ad copy rotation and proximity allocation to deliver a more contextualized communication ensuring greater audience attention and engagement. Naturally, these approaches will be further enhanced by the growing role of AI within the industry from messaging agility, and the inevitable in-depth analysis of traffic patterns and measurement which will result in greater investment efficiencies.

Among the several products offered by Saudi Signs Media, there are two that have made an undeniable impact on the local market: Riyadh’s Digital Bridges and Jeddah’s Digital Steel Bridges which will remain under the company’s stewardship till the end of 2025 and 2035 respectively.

Both these mediums are responsible for breaking the decades-long communication approach previously practiced and afforded the market novelty. Presence on either has been widely recognised and granted brands a powerful channel to promote their services and goods in direct line of sight of motorists, distributed along highly congested roads and allowed for creative range due to significant LED canvas sizes.

Yet, as advancements of all sorts reshape the landscape, there are upcoming changes that will greatly serve local and international partners.

Overall, the out-of-home advertising sector in Saudi Arabia is rapidly transforming into a dynamic marketplace that can accommodate new vendors, offer a wider range of formats, and provide diverse placement opportunities. Within the coming period, advertisers will have a range of options to choose from to reach both new and existing audiences, and this is particularly important given the significant societal and market shifts currently underway.

in Saudi Arabia is rapidly transforming into a dynamic marketplace that can range of formats, and provide diverse placement opportunities. Within the coming options to choose from to reach both new and existing audiences, and this is particularly market shifts currently underway.

As such, Saudi Signs Media remains by continuously innovating its needs of tomorrow. With these come, the industry’s future within the kingdom by Saudi

As such, Saudi Signs Media remains committed to advancing the industry by continuously innovating its products and services so to meet the evolving communication needs of tomorrow. With these developments and more to come, the industry’s future within the kingdom by Saudi Signs Media promises to be both dynamic and greatly impactful.

By Hasan Zaini, Deputy Chief Executive Officer at Saudi Signs Media

AIR AT DUBAI LYNX CREATIVITY IN THE

There were some big winners at this year’s festival and awards, and plenty of young talent, writes Campaign Middle East editor Justin Harper

The venue wasn’t the only new thing at this year’s Dubai Lynx Festival of Creativity. There were new awards, new faces and the first time that Grands Prix were awarded across all the categories. Plus Morocco also won its first ever Grand Prix. It was an eventful festival and awards ceremony, to say the least.

Saudi Arabia scooped five Grands Prix, with ‘ProtecTasbih’, for Saudia, entered by Leo Burnett Jeddah winning four of the prestigious awards. It was a big night for many but Leo Burnett dominated the stage, also picking up Network of the Year and MENA Agency of the Year.

VML, Dubai/ VML, New York also scored big with its ‘I See Coke’ campaign picking up three Grands Prix, while ‘Rumble’ for Saudi Arabia’s General Entertainment Authority entered by Accenture Song, Dubai, took home two Grands Prix.

Overall, it was a big win for Dubai Lynx itself as it brought together the leading creative minds in the region for this year’s festival, while championing young talent. Hundreds of industry folk enjoyed a festival-like atmosphere at the new venue of the Emirates Golf Club in Dubai as they wandered around the plush green lawn, chatted and networked, while enjoying some intriguing activations and stands.

From the welcome address from Festival Director Kamille Marchant to the last session from Saatchi & Saatchi, the great content flowed thick and fast. The talks and panels were insightful and highly entertaining while there were many common themes. AI was a big one as the industry continues to integrate and embrace the new technology. There was also much talk about creative effectiveness, talent and the power of music.

Industry legend Josy Paul discussed the effectiveness of your creative work for both creatives and marketers. He was one of a number of highlights from the festival.

Khaled AlShehhi, Executive Director of Marketing and Communication  from the UAE Government Media Office, spoke on how to build a more sustainable marketing industry. He also announced a strategic alliance between the region’s Advertising Business Group (ABG) and Ad Net Zero, a climate action programme for the advertising industry.

The following pages are a roundup of all 21 Grand Prix winners and their work, interviews and roundtables from the event.

The insights and trends from this year’s work are explored in the Dubai Lynx Creativity Report, providing the official rankings for the top performing networks, agencies and companies from across the region.

SPONSOR

IN ASSOCIATION WITH

STRATEGIC PARTNER

BROADCAST PARTNER

BRAND EXPERIENCE & ACTIVATION, DIRECT, DESIGN, PR

Title: ProtecTasbih

Client: Saudia

Agencies: Leo Burnett Jeddah and Saatchi & Saatchi ME

Production: Leo Burnett Jeddah, MKV Digital, Saatchi & Saatchi

Other awards: Silver Lynx x 5 (PR, Healthcare, Creative Strategy, Creative Commerce, Brand Experience & Activation); Bronze Lynx x 2 (PR, Direct)

CREATIVE COMMERCE, RADIO & AUDIO, DIGITAL

Title: I See Coke

Client: The Coca-Cola Company

Agencies: VML Dubai, VML New York

Production: Believe TVSantiago, Sonido Antro Sao Paulo

Other awards: Bronze Lynx x 4 (Media, Direct, Digital, Brand Experience & Activation)

FILM, FILM CRAFT

Title: Rumble

Client: General Entertainment Authority

Agencies: Accenture Song Dubai and Droga5, part of Accenture Song, New York

Production: Park Pictures New York

Other awards: Gold Lynx x 2 (Entertainment, Film Craft); Silver Lynx x 2 – Film Craft; Bronze Lynx – Entertainment

CREATIVE EFFECTIVENESS

Title: The Hidden Room

Client: Home Box

Agency: Leo Burnett, Dubai

Production: Liwa Advertising

CREATIVE STRATEGY

Title: Superstar Ravi

Client: Adidas

Agencies: Havas Middle East, Red Havas Middle East

Other awards: Silver Lynx – Creative Effectiveness

ENTERTAINMENT

Title: Unauthorized Trip

Client: Saudi Tourism Authority

Agency: And Us

Production: Blackbox

Other awards: Silver Lynx – Creative Strategy; Bronze Lynx – Brand Experience & Activation

GLASS: THE AWARD FOR CHANGE

Title: The Female Field

Client: Adidas

Agency: Havas Middle East

Production: Havas Middle East

Other Awards: Gold Lynx – Design; Bronze Lynx x 2 (Media, Brand Experience & Activation)

GRAND PRIX FOR GOOD

Title: Out Of Home

Client: Jood

Agency: VML Casablanca /Wunderman Thompson Casablanca

Production: The Cell Films

Other Awards: Gold Lynx x 2 (Outdoor, Brand Experience & Activation); Silver Lynx – Media; Bronze Lynx – Outdoor

HEALTHCARE

Title: The Protective Rhymes

Client: Anghami

Agency: Leo Burnett Dubai

Production: Prodigious Dubai

Other Awards: Silver Lynx – Film

INDUSTRY CRAFT

Title: Maqroo - The First Arabic Dyslexic Font

Client: Omantel

Agency: Leo Burnett, Dubai

Other Awards: Silver Lynx – Healthcare; Bronze Lynx – Design

INTEGRATED

Title: Battle Of the Baddest – Integrated

Client: General Entertainment Authority

Agencies: Accenture Song, Dubai; Droga5, Part of Accenture Song, New York; Droga5, Part Of Accenture Song, Tokyo

Production: Time Based Arts London

MEDIA

Title: Frequencies of Peace

Client: Babyshop

Agency: FP7 McCann, Dubai

Other Awards: Gold Lynx – Radio & Audio; Bronze Lynx – Entertainment

OUTDOOR

Title: The Lost Camel

Client: Emirates Development Bank

Agency: Livingroom Communication

Production: Livingroom Communication

PRINT & PUBLISHING

Title: Planet Espresso

Client: Boon

Agency: Grey, Dubai

SOCIAL & INFLUENCER

Title: Birthmark Stories

Client: HungerStation

Agency: VML Riyadh / Wunderman Thompson Riyadh

Production: Dreambox Films Riyadh

COMING STARS UP AND W

hile the festival was underway, young talent was busy sweeping up their own awards.

Up-and coming stars were part of various Dubai Lynx programmes that took place during the event.

Picking up their award for their win at the Young Lynx Academy’s hackathon was the Purple Team. Winning team members were STA’s Rayan Akhonbay, P&G’s Christina Khoury, Hill & Knowlton’s Fairoos Peedikakandy and Initiative MENA’s Maria Khoriaty.

The group of 30-and-unders took on a brief, set by the Unstereotypical Alliance, that tackled the stigma faced by working mothers. The academy was held over three days in partnership with Publicis Groupe

at Dubai’s Emirates Golf Club. It also featured keynote talks and workshops led by industry leaders such as Steve Stoute and Simon Cook.

Another venue, in5 Tech, saw more than 40 young talents come together to challenge a sustainability-driven brief set by the Advertising Business Group. The Young Lynx Competition saw creative duo Ananya Talwar and Benjamin Kirby from VML Dubai pick up the winner’s trophy. Learning didn’t take a pause there with the festival’s Mastery Meetups running through the day.

Four expert creatives, Ali Rez, Priya Sarma, Tarek Sabbouh and Shane Martin shared their knowledge and insights with young creatives and professionals in the intimate sessions.

Ananya Talwar and Benjamin Kirby receive their awards from Kamille Marchant.

The Young Lynx Academy’s hackathon-winning team pick up their trophies from judges

THAT SPECIAL FEELING

The Dubai Lynx Awards recognise individuals, agencies and organisations across a wide remit of creative areas. While this year saw a record number of Grands Prix, the special awards saw some notable winners. Here’s a round-up of the special awards given at Dubai Lynx.

NETWORK OF THE YEAR, MENA AGENCY OF THE YEAR Leo Burnett

MEDIA NETWORK OF THE YEAR Initiative

INDEPENDENT MENA AGENCY OF THE YEAR Serviceplan Middle East, Dubai

ROOM FOR GROWTH

Bloomberg Media hosted a roundtable of top CMOs at this year’s Dubai Lynx to talk AI, writes Campaign Middle East editor Justin Harper

One of the highlights of the Dubai Lynx Festival of Creativity 2024 was a roundtable hosted by Bloomberg Media, featuring some of the top Chief Marketing Officers (CMOs) in the region. The Global CMO Growth Council dates back to 2018, when it was launched by Cannes Lions and the ANA (The Association of National Advertisers, USA).

Fast forward to this year and Dubai Lynx hosted 25 CMOs from leading brands in the region for the regional chapter of the CMO Growth Council. Amit Nayak, Managing Director of Bloomberg Media, Middle East and Africa, introduced the session, which gave insights on the latest trends and news in the fast-evolving AI landscape.

“Bloomberg is uniquely placed in helping tell the AI story. Over the past year, we’ve really ramped up our editorial coverage across all of our global platforms, whether it’s audio, video, articles, events, and newsletters.”

“Partnerships like this with the ANA, as well as our extensive editorial coverage, is really helping us deliver the unique business context of this fast-evolving industry,” he said.

He was joined at the Global CMO Growth Council by Bloomberg Media colleagues Christine Cook, Global Chief Revenue Officer, and Andy Rogers, Head of Client Marketing and Business Development, MEA.

“We continue to hear from our clients and see in our coverage the rapid pace of change in AI, and so this partnership creates an opportunity for us to do what our content

does for you and stay close to the evolution of this topic,” added Cook.

BOOMING BUSINESS

Generative AI is a booming business that is touching virtually every industry. Forwardthinking CMOs are already integrating the new technology into marketing functions. Bloomberg Media wanted to look at AI through the lens of investment and business potential.

Bloomberg Intelligence analysts have estimated that within a decade, we’ll have gone from zero to a market worth $1.3 trillion. The story is bigger than that, because this will be 12 per cent of overall technology spend, and will impact multiple areas within the technology sphere.

“Generative AI really is here to stay. And perhaps not surprising for anybody in this room, the expectation from a BCG study recently done across 50 markets around the world with executives is that the Middle East is anticipating investing more than anywhere else,” added Rogers.

Executives are “incredibly optimistic about the revenue generation opportunities and their productivity gains and, also across

‘‘MARKETERS ARE SEEING THE POTENTIAL FOR HUGE EFFICIENCIES”

both KSA and the UAE, the opportunity to identify new lines of business and deliver growth,” Rogers added.

SIGNIFICANT PEAK

Functionality on the Bloomberg Terminal allows users to analyse earnings call transcripts from around the world, using natural language processing, a form of AI. Using this technology, Bloomberg Media has tracked the number of mentions of Generative AI by executives on those calls. It saw a significant peak in Q3 with more than 3,000 mentions.

“But I think what we are seeing is there’s still a certain amount of widespread confusion and a lack of understanding about the potential and use cases and how to implement Generative AI,” said Rogers.

Recent Bloomberg Media research segmented business leaders based on their views of Generative AI, finding globally 9 per cent consider themselves fearful, 41 per cent watchful, and 22 per cent embracing.

He explained that global business leaders are perceiving a lack of use by their organisations of Generative AI. While teams are feeling unequipped to actually deliver what their leaders want.

“As a juxtaposition to that, you’ve got employees who really want to learn but they’re just not being given the tools to do so. An Accenture study on Generative AI found only 5 per cent of employees saying they’re seeing formal learning at scale within their organisations”.

Rogers observed that the advertising and marketing sector is already moving into Generative AI. “The potential is huge. It’s not just about basic content creation or copywriting. It’s about automating personalised sales communications, inspiring creative thinking, or even analysing market data. All of which means that marketers, as they look forward, are seeing the potential for huge efficiencies.”

Following the informative Bloomberg Media presentation, CMOs were given the opportunity to have their say. In breakout groups they discussed how AI was affecting them, put forward their perspectives, and networked.

AI, finding top talent, mental health, paying for pitches, judging awards. These were just some of the topics on the table when CEOs, MDs and chairmen from the biggest agencies and networks in the region got together at Dubai Lynx.

As part of the exclusive Leaders Roundtable, moderated by LIONS CEO Simon Cook, Campaign Middle East enjoyed a seat at the table to listen in on some intriguing debates among the power players of the industry.

The good news is that leaders are feeling positive about the industry, how it has

THE STARS ARE ALIGNED

Campaign Middle East sat down with leaders from the largest agencies in the region to find out what’s on their minds

developed over the years, and its roadmap for the future.

Reda Raad, CEO of TBWA\RAAD Middle East, said: “I think today what we’re seeing is unprecedented. All the stars are aligned. There is an influx of talent, and when you look around, at the short lists, the quality of work, and this world-class region, then I think it’s time we believe that and live that.

“I stopped thinking that, maybe we’re not as good as the rest of the world. I would say this is one of the best regions in the world.”

Tarek Miknas, CEO at FP7 McCann MENAT, joined the praise for the region’s advertising industry.

“I think we are very, very lucky in this part of the world. The kind of briefs you get, the ambition, particularly in the UAE and Saudi Arabia today, is humongous.

“And what it means is that ambition trickles into every single aspect of everything. And for us to be a part of society here, it’s our responsibility to take what we do and elevate it to number one on the global stage. And I think that’s at least what drives me.”

The growing list of awards for the region’s creative talent supports the upbeat mood among the industry leaders. These accolades are helping to attract top global talent to the region, which had always been a challenge.

From global talent to global brands, Dani Richa, Chairman & CEO Middle East, Africa and Pakistan at BBDO, observed how the region relies less on global brands setting up hubs in the Middle East as it is now producing its own global brands. He gave examples of airlines Etihad and Emirates, Saudi’s Aramco, DP World and Etisalat.

“There’s a long list. So we’re very lucky to be building and helping countries build global brands out of the region. And that is really a game changer. There’s definitely been a transformation. And all

eyes are on the region, which is fantastic.”

TALENT AND AI

While talent is attracted to the region, there are still shortages, given the rapid pace of expansion, particularly in Saudi Arabia.

“I think that we can really nurture local client, and create an opportunity to usher in a creative renaissance. But it’s almost as if we need to architect or create a talent academy,” added Kristine Lasam, Managing Director at Accenture Song.

The Leaders Roundtable discussed the disruptive nature of AI but saw many positives, such as freeing up creatives to really focus on impactful, creative work.

Tony Wazen, CEO at Publicis Media, said: “If we want to really continue to evolve, we have to integrate technology and create output a bit differently”.

The general consensus among the leaders, and across Dubai Lynx, was that AI is being welcomed as a useful tool to help unlock greater creativity. But alongside this technology, the human touch can’t ever be replaced, and will be more important than ever.

BBDO’s Richa summed it up perfectly: “Clients really value the power of ideas because what AI will never replace is creativity and innovation. It will help it, it will amplify it, it will put it on steroids, but it will never replace it.”

Indeed, the industry is investing billions in AI as it embraces not just new technology, but perhaps a new business model.

And no roundtable with advertising leaders would be complete without a heated debate on pitches. Some smart ideas were suggested for being remunerated for RFPs, and to get feedback from clients. While we wait for the tide to turn, some agencies are actually being charged to pitch. Yes you read that right.

By Justin Harper

(From left to right) BPG Group CEO Avi Bhojani with Ian Fairservice, Motivate Media Group’s Managing Partner and Vice Chairman of Dubai Lynx, and Simon Cook, CEO, LIONS.

(Left to right) Nassib Boueri, CEO at VML MENA; Reda Raad, CEO at TBWA\RAAD ME; Dani Richa, Chairman & CEO Middle East, Africa and Pakistan; Tarek Miknas, CEO at FP7 MENAT; Ian Fairservice, Managing Partner at Motivate Media Group and Vice Chairman of Dubai Lynx; Simon Cook, CEO, LIONS; Kristine Lasam, Managing Director at Accenture Song; Avi Bhojani, CEO at BPG Group; Mounir Harfouche, CEO at MullenLowe MENA; Tony Wazen, CEO at Publicis Media, and Majed Al Suwaidi, Senior VP at TECOM Group Dubai.

AROUND THE TABLE IN THE DIGITAL AGE

At a Dubai Lynx roundtable, hosted by DoubleVerify, CMOs discussed the different challenges of running and optimising digital ad campaigns

It is the day of the Dubai Lynx Festival of Creativity and the organisers have brought together top regional brand marketers for a roundtable hosted by DoubleVerify.

In attendance are marketing leaders across different sectors and regions.

From the tourism industry are Saudi Tourism Authority’s Asmaa Quorrich and RAK Tourism Development Authority’s VP Alka Winter and Senior Manager of Destination Marketing & Communications Meghann Eleazar.

Other Saudi-focused marketers present include King Abdullah Financial District’s VP - Experience Samir Siddiqi, Sport for All Federation’s Director of Marketing and Communications Ammar Alamro and Told Brand Management Director Passant AlDeeb.

Showcasing their inputs from an F&B perspective are Tim Hortons Middle East CMO Aamir Allibhoy and PepsiCo’s Senior Manager - AMESA Creative & Content Lead Mahmoud Hassan.

The roundtable group is complete with the presence of Lego Head of Marketing Ula Bieganska, UAE Government Media Office’s Executive Director of Marketing and Communications Khaled AlShehhi, and Senior Director of Marketing at Jumeirah Hotels & Resorts Ahmed Al Gamal.

The floor opens up for questions after a short presentation by DoubleVerify’s SVP & Managing Director – EMEA, Nick Reid, and VP MENAT, Daniel White.

Topics across the floor touch upon the points of brand safety and suitability, optimising media investment towards outcomes, partner relationships, transparency and accountability in media buying.

BRAND SAFETY AND SUITABILITY

“Brand safety is no longer just about appearing against hate speech and violence and has become more nuanced now,” says White.

A brand may have compelling creative messaging which resonates with their target audience, but all this can be undermined by one ad surfacing against unsafe or unsuitable content.

“Consumers are now very aware of where brands are served. People are looking at brands that are aligned with their values,” adds White.

He notes that the UAE boasts a higher average of people who are more likely to buy from companies they feel aligned with.

White also shared how the number of instances of brand infractions go up approaching Ramadan. The percentage of brands showing up in spaces that you don’t want actually rises by 15 per cent.

White shares the reason behind this increase, “It comes down to supply and demand. When the amount of traffic being bought by advertisers increases but isn’t matched by an increase in supply, we see a higher proportion of ads appearing against content that an advertiser has classified as unsuitable for their brand.

OPTIMISING RESULTS

When looking at optimising ad campaigns, the focus comes to the need for the human element even with digital platforms.

Sidiqi emphasised the importance of upskilling employees to understand data and measurement. “You need to have the skill set internally to understand measurement.”

Quorrich mentions how Saudi Tourism implemented training programmes and collaborated with technology providers such as META to upskill the team to achieve the brand’s digital transformation goals.

White says that DoubleVerify’s certification platform, DV University (DVU), is also being used by advertisers across the MENAT region. Demonstrating ways to leverage DV’s actionable insights in order to achieve digital campaign objectives.

The discussion highlights the need for a data-first approach and industry-wide collaboration to instill this mindset and build necessary skill sets.

Quorrich adds that when looking to optimise campaigns, setting KPIs and benchmarks help them achieve better results than impressions. “I want to see clicks and I want to see transactions and the pressure that I put on the agencies is to really gives me the results.”

Sharing how they set these benchmarks, she adds,“We start with benchmarking the industry in a similar activity, benchmarking the industry, and benchmarking overall.”

On the opposite end of optimised campaigns, they also touch upon the various types of fraud, such as fake websites and fake traffic-generating bots.

Emphasis was placed on the critical role of AI in combatting fraud and ensuring ad placements align with brand safety, thereby maintaining trust and credibility in digital advertising.

‘‘THE DISCUSSION HIGHLIGHTS THE NEED FOR A DATA-FIRST APPROACH”

“What you want is a ready solution as well that simplifies our work and also creates transparency around the cost,” says Bieganska. Marketers also discuss the challenges of ensuring transparency and accountability in media buying.

Marketers cap off an engrossing round table by stressing the importance of understanding data and deriving insights to make informed business decisions rather than merely measuring data.

It’s become a tradition for BIG KAHUNA FILMS to host a preview dinner ahead of Dubai Lynx, attended by some of the industry main players. This year the creative production house’s founder and CEO Eddy Rizk sat down with Campaign Middle East to talk about Saudi Arabia, a new short-form content house and AI.

WHAT PRODUCTIONS HAS BIG KAHUNA FILMS BEEN WORKING ON THAT YOU ARE MOST PROUD OF?

We have participated in several campaigns that have marked significant events, such as the documentary on the Beirut explosion, social awareness initiatives that have significantly changed people’s perceptions. We also worked on the pre-opening campaign for the Dubai Expo 2020, a major event for the UAE. More recently, we have contributed to progress in Saudi Arabia by producing tourism campaigns for three consecutive years after the Kingdom opened its doors to tourism with the launch of Visit Saudi. Last but not least, we were involved in the main campaign for the Saudi Arabia FIFA World Cup 2034 Bid.

AND YOU HAVE BRANCHED OUT INTO SHORTFORM VIDEO CONTENT? TELL US MORE ABOUT THAT?

It took us a while, but we had good reasons. Initially, BIG KAHUNA FILMS played a crucial role in developing Dubai’s film production industry, earning a global competitive edge. Our reputation for delivering exceptional quality has always been our strength. But being a sizable operation, engaging in small budget productions didn’t align with our strategy.

As demand for short-form video content surged, leading to the emergence of pop-up production houses, many of which operated as one-man shows, with hundreds appearing over time, we chose to wait and assess the quality of content being produced. Our goal was to enter the market with a promise of low cost but without compromising on quality.

FEELING THE VIBE

BIG KAHUNA FILMS’ founder Eddy Rizk announced a new venture at this year’s Dubai Lynx, writes Campaign Middle East editor Justin Harper

This led to the launch of VIBE Content Creators. Operating with extremely low overhead costs, VIBE benefits from the back-office support, research, and the expertise of BIG KAHUNA FILMS, all under its supervision.

SO YOU HAVE LONG FORM AND SHORT-FORM COVERED. WHAT ELSE HAVE YOU BEEN WORKING ON?

We are now exploring the potential of AI to enhance our production processes. Specifically, for VIBE, we are collaborating with a Canadian company to explore how AI can make a small team more cost and time efficient. And with the latest text-tovideo technology, we are also partnering with post-production studios to discover ways to transform content while preserving its originality. Additionally, within our event company GREENROOM we’re delving into new technologies to provide clients with innovative solutions beyond traditional approaches.

THERE’S SO MUCH BUZZ AROUND SAUDI ARABIA, WHAT ARE BIG KAHUNA FILMS PLANS THERE?

Saudi Arabia has been a breath of fresh air for us, not only due to the exciting projects from the region but also the overwhelming opportunities. A strategic move in our expansion is appointing Gregory Mardikian to lead our Saudi office. With a

profound advertising background, Gregory brings a nuanced understanding of market dynamics and is well-equipped to lead our efforts in the country, with the aim of fostering close collaborations with agencies, businesses, and government entities.

BIG KAHUNA FILMS IS A LOYAL SUPPORTER OF DUBAI LYNX, WHAT DID YOU THINK OF THIS YEAR’S FESTIVAL?

The Dubai Lynx festival remains a premier industry gathering, offering invaluable opportunities for professionals across the industry to get together, share innovative ideas, and celebrate creativity. This year’s event was no exception.

Having collaborated since 2011, BIG KAHUNA FILMS, known for hosting successful after-parties, we are now organising an exclusive dinner for top executives, creatives, and industry leaders, making this event the region’s most anticipated and attended networking occasion.

WHAT WORK/CAMPAIGNS CAUGHT YOUR EYE?

I find it remarkable how BIG TIME, a new agency from KSA, became one of the top three independent agencies of the year in just three months. This highlights how bold ideas can really stand out in a competitive industry.

From left to right: Chady El Khal, Joudy Fawaz, Rajaa Chami, Eddy Rizk, Mariel Romero, Gregory Mardikian and Maria Succar

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DATA

IS THE REASON TO BELIEVE

Taking to the Dubai Lynx stage, BBDO’s Josy Paul reminded us why the human element is so essential to creativity

“Creativity is sensitivity in a world where no one is listening,” shares BBDO India’s Chairman and Chief Creative Officer, Josy Paul as he took the stage at Dubai Lynx.

Campaign Middle East caught up with the man behind the Grand Prix-winning campaign of Cannes Lions’ inaugural Glass Lion, back in 2015.

Coming off his presentation, or confession as he considers it to be, Paul shares a missing factor of data – the emotional empathy.

With his trademark cap atop his head, Paul says,“I think data is looking for humanity.”

“What data does is it takes you to the door, it takes you to the data table. But it can’t tell you after what is it that we can tell each other and share with each other, which can make us feel better about ourselves. And that’s what brands do, right? It’s really about that connection which feels rewarding.”

Paul considers the reward to have an emotional side, which is something that data

“CRAZY IDEAS ARE NOT CRAZY AT ALL”

Grey’s Global Chief Creative Officer Gabriel Schmitt explains the need for business-minded creatives

Creative teams are known for coming up with crazy ideas. But most of them are not crazy at all, argues Gabriel Schmitt, Global Chief Creative Officer at Grey.

Speaking at this year’s Dubai Lynx, he gave an amusing talk on how the most ‘out there’ ideas often have strong business reasons behind them.

Schmitt spoke to Campaign on the sidelines of the festival about the power of creativity in solving real business problems. But sometimes things don’t always follow this route.

“A lot of times agencies come up with crazy, amazing creative stuff that is not responding to business problems that the clients have. Then you get into a crazy conversation of ‘I

may not be able to help unless there is something else that works with it, like a partner. And listening is the best friend data can ever have.

“Data is not the source of the idea. It’s the reason to believe,” adds Paul. “You can find a greater truth by combining finding data with listening.”

“Which is why even large tech companies, they all have focus groups, and I say, Excuse me, I thought you have all the data. Why are you listening to consumers?”

“Original scientists were offering data but before they offered the data, they had the hypothesis.”

Paul strings in an anecdotal example of Newton to emphasize, “An apple falls from the tree. Newton suddenly realises something is there. And then they do experiments to prove that the hypothesis is true or not true. And from that comes the data.”

By Ishwari Khatu

need to solve problem X and you bring me solution Y’”.

“It doesn’t matter how beautifully crafted solution Y is. You are not solving the problem I have.”

THE SOLUTION?

Schmitt says agencies should spend more time talking to clients about their business problems, and not always trusting briefs, as these are often created at a whim or in isolation to the rest of the business, Schmitt believes.

“The more you spend time with clients talking about their problems, the more they are going to trust you. And find out what’s behind the problem, as an agency and as a creative person, to get solution-first ideas.”

The Brazilian creative genius has picked up many honours in his illustrious career, including a triple Grand Prix (including the Titanium Lion) for Burger King’s ‘Whopper Detour’ in 2019. He followed that up with a double Grand Prix for Michelob Ultra’s ‘Contract for Change’ in 2020/2021 and 2022. His collection of awards includes more than 20 Gold Lions, 20 Silver and 18 Bronze.

OUT-OF-THE-BOX

Burger King built a reputation for out-of-the-box marketing, often

taking cheeky shots at McDonald’s.

The Whopper Detour stunt relied on mobile geofencing to steer customers away from McDonald’s and promote the order-ahead features of Burger King’s recently redesigned app.

People who went near McDonald’s locations were delivered a mobile notification offering a Whopper for one cent. After they placed an order, the app directed them away from McDonald’s and toward the nearest Burger King outlet to pick up their food.

The guerrilla campaign drove notched up more than 1.5 million downloads overall for Burger King

“In the last five years, I see some very good ideas that are out there, and if you dissect them you know they are solving problems. The work I am most proud of in all my work are like that.

“On face value they are all crazy ideas, but they are not. They are businessorientated ideas that have very clear business results attached to them.”

The Whopper Detour concept was a coupon idea at its heart. Highly-acclaimed for its daringness, it was its results that really made it famous.

“I strongly believe the creative people need to become more business-oriented and the business people need to be more creative, and both meet in the middle. The best creative agencies in the world are doing that.”

By Justin Harper

I’M LOVIN’ IT

U.S-based marketing guru Steve Stoute talked McDonald’s jingles, music and Will Smith, ahead of his Dubai Lynx talk

There can’t be many people on the planet who don’t know the famous McDonald’s slogan ‘I’m Lovin’ It’ or who haven’t listened to the accompanying jingle. And then there’s the equally-famous song sang by Justin Timberlake.

Steve Stoute is credited as the man leading that McDonald’s campaign during his time working for an ad agency in New York – a period he calls his “glorified internship”.

This invaluable experience came after a successful role as a music executive for Sony Music, and inspired him to found his own agency Translation.

“I worked at that agency for about 18 months, understanding the mechanics of agencies and creative firms, strategy, the language of clients, along with scopes and briefs.”

Along with the world-famous McDonald’s campaign, Stoute was also the man behind the Reebok and Allen Iverson collaboration, launching the former basketball player’s signature sneaker line in the late 1990s.

“I combined rap and basketball – I was the first to do that. It was one of the most iconic slots, and comes up often as it was regarded as breakthrough”.

During that ‘internship’, Stoute learned the tricks of the trade to help him launch his own agency. “I was learning, became astute in understanding the business and launched Translation.

“McDonald’s taught me so much about the global business and coming up with a campaign that had to resonate around the world, and allowed me to use some of my music business relationships.”

‘‘HE NOT ONLY UNDERSTANDS THE POWER OF MUSIC BUT HAS AN IMPRESSIVE LIST OF HIGHPROFILE MUSICIANS WHO HE COUNTS AS CONTACTS AND FRIENDS”

FROM MUSIC TO MARKETING

So why give up a successful career as a record exec at Sony Music?

During that time, the record label was doing a soundtrack for the Men in Black movie (starring Will Smith and Tommy Lee Jones). A creative agency did the product placement for Ray-Ban sunglasses, which were a big part of the movie.

“When the music and movie came out, the glasses exploded in sales. I distinctly remember people being surprised. But for me, I understood the music business very well and knew that music can drive contagious consumer behaviour around a product.

“A movie that can penetrate pop culture can do that, if the product is in the right light.”

“Because it was so successful, and people thought it was a phenomenon, I realised it was an opportunity that I could go into advertising business and create ‘phenomenon’ like that as I understood the marketing and importance of culture and the rules of contagion.”

Side note: Will Smith and Stoute became friends and have worked closely together since.

TRANSLATION BORN

When Stoute set up his own agency, he scored an early win thanks to State Farm, coming up with a new jingle and repositioning the traditional brand to become more relevant to a new generation.

He not only understands the power of music but has an impressive list of high-profile musicians who he counts as contacts and friends. “Melody and images create memories. It’s the heart of everything, working in concert.”

Fast-forward to today and the work he is raving about involves an AT&T helmet campaign that utilises its 5G technology to help deaf and hard of hearing American football players.

Coaches can communicate to players remotely via a headset built into their helmets. For deaf players this is obviously a problem

AT&T developed a headset that converts the coach’s words into text which can be displayed on the helmet’s visor. “It’s been an amazing success, and I predict it will be heavily decorated at this year’s Cannes Lions. It’s very powerful and something we are hugely proud of.”

SOLUTIONS AND DIVERSITY

Stoute likes to do things differently, from the staff he employs to how he views his agency. “I have moved away from the idea that we are just an agency. We are a creative solutions company and we have a very distinct perspective.

“The word ‘agency’ has gotten a reputation that it is an expense not an investment. We are an investment.”

As an African-American, he is keen to promote diversity within his organisation, not just in terms of race but gender and culture. “We are a very diverse company. Diversity was seen as a tactic, something you had to do. And not a strength that gave you an advantage. But that’s how I have always looked at it, and always will.”

By Justin Harper

DUBAI LYNX 2024

Highlights from the Dubai Lynx Festival and Awards, which were held this year at the fabulous new venue of Emirates Golf Club, Dubai

INDUSTRY VIEW:

Would TikTok be at a greater disadvantage than Universal Music Group after the fallout?

Irina Tatarinova

Head of Head of Social Media & Influence Marketing, Flowwow

YESTikTok will face more complex challenges than Universal Music Group. Losing access to UMG’s catalogue, which includes 4 million songs (according to industry estimates, up to 80 per cent of all music on TikTok), is likely to result in decreased activity on the platform.

If tracks from artists such as Taylor Swift, Billie Eilish, and Adele are no longer available, users and brands may switch to other platforms, such as Instagram, where they can find this music. Sourcing alternatives could prove to be a challenging and expensive process for TikTok.

For UMG, the loss of TikTok will not be a significant revenue loss. However, artists will lose an essential promotional channel. The MRC Data 2021 study confirms these concerns, finding that 75 per cent of TikTok users discover new artists through this platform.

Seyoan Vela Chief Creative Officer, Living Room

NOIt feels like a lose/lose situation for both parties. I’ve got teenage kids and the only way they discover any music now, whether old or new, is through TikTok. On the other hand, I’ve just looked up the artists that Universal Music have, and they are dominant. Everyone from Taylor Swift and Adele to Drake and BTS, the Beatles and Lady Gaga. TikTok is the social media platform that is dominant in music and this dispute undermines that credibility. In the end, I’m sure it’s all going to all be worked out. It’s only an argument about money.

Mariam Abouseif Social Media Director, Assembly MENA

NOTikTok’s true genius lies in its endlessly creative audience.

Asiya Ali Founder and MD, MKV Digital

NOThe impact of TikTok on the social media landscape is significant, with a staggering 34 million videos posted each day. While music has always been integral to TikTok’s identity, its success primarily stems from user creativity rather than solely relying on music. As UMG’s music departs and potential label exits loom, users will pivot to other music options for content creation. While the virality of dancing to popular songs may decline, viral food videos and other trends will continue to thrive. Brands will also shift towards custom sound collaborations to maintain their musical presence on TikTok, showcasing the platform’s adaptability.

Sure, losing industry titans like Universal stings, but consider it a blank canvas for the next viral sensation (invented in someone’s basement, no less). This is prime time for undiscovered artists to shine, after all. Brands might have to get a little more… inventive with their soundtracks. It’s a chance to find new ways to make their message resonate without just relying on a popular song. One thing’s for sure: TikTok’s gonna TikTok, licensed music or not!

William Varghese Director, Codeyaya Technologies

YESThe exclusion of music from renowned artists could significantly alter the dynamics of music-centric campaigns on TikTok. Brands and advertisers will face the task of adjusting by pinpointing and capitalising on trending sounds from emerging talents, whose appeal may not match that of established chart-toppers initially. The key challenge lies in sustaining the same degree of user engagement and campaign virality within an altered musical landscape. This shift necessitates a strategic approach in aligning campaign objectives with the evolving preferences of TikTok’s diverse user base. As brands navigate this terrain, there exists an opportunity to foster partnerships with up-and-coming artists, fostering a fresh wave of creativity and connection with audiences.

Florence Bicknell Senior Social Media Executive, Coffee Communications

NOWhile the disagreement with Universal Music Group (UMG) has affected many users, TikTok is not all about dances/music. Users continue to share their Get Ready With Me’s, workout tips, weekend activities, etc., with or without the trending music behind their videos. In fact, people have turned the split into a trend by dancing to royalty free music to poke fun at the situation. The breakup with UMG has not affected TikTok’s momentum as much as the world thought it might have. I’m curious to see what TikTokers will come up with next to express their creativity.

Genevieve Saab Social Media Manager, Umami Comms

NOWith TikTok being one of the most popular social media platforms at the moment, and music of all sorts being one of the most easily accessible elements in the digital world, I personally believe TikTok will not only survive but thrive through the fallout, especially as the essence of the platform doesn’t rely on commercial music for its or its users success, but rather banks on more authentic experiences as part of its business model. I actually believe it’ll push the boundaries of how creators come up with new and innovative ways to generate viral content, as seen with various original audios that have already been achieving this prior to the fallout.

Rama Abdulhadi Group Account Director, Viola Communications

YESI believe it will have an enormous impact on TikTok and its users. With millions of songs leaving TikTok, not only are users unable to make new videos with these songs, but also all existing content is being muted, which makes scrolling through TikTok’s For You pages a lot less engaging and fun, and let’s face it, AI songs will never be enough to replace real artists! On the other hand, UMG, will also be impacted given that there are over 1 billion monthly active users on the platform which grants their songs such great exposure.

Dubai Lynx, in partnership with Campaign Middle East, launched a competition for standout creative students from the MENA region to create the front cover for this ‘Know Your Platform Guide’ issue.

Students were asked to create a front cover that encapsulates how social media continues to move creativity forward. The brief was to be inspiring and reflective of the MENA region.

The winner of the competition was Samantha Ablo at the SAE Institute, Dubai. She appeared on stage at the Dubai Lynx Awards to collect her award. Second place went to Leina Daher, American University in Dubai (AUD), while third place went to Ghada Almaneae, from Prince Sultan University, KSA.

The jury president was Tahaab Rais, Chief Strategy Officer and Film Director at Publicis Groupe. He was joined by judges Choi Co, Creative Director at FP7 McCann Dubai; Saymon Medeiros, Creative Director at and us; Rana Sadek, Associate Creative Director at Impact BBDO Dubai; Firas Ghannam, Creative Director at VML and Justin Harper, editor of Campaign Middle East.

Rais said: “The entries were exciting. Some had a lot of effort and thinking put behind them. And

HOLD THE FRONT PAGE

Students were asked to design the cover of Campaign Middle East with colourful results

that’s what we choose to reward. We collectively agreed to reward the idea first, the effort and thought process next, and because they’re so young and new, we didn’t go too knee-deep into the execution and judging the craft specifically. We know that’ll come with time and experience. And we left the online judging room excited.”

The winning design from Samantha Ablo was commended for blending the world of digital connectivity and entertainment, with traditional entertainment.

Campaign Middle East was interested to know how Rais himself would go about the creative process of ideating and designing the front page.

“For this brief I’d start by identifying the real naked problem. Then, I’d define the audience - the ones seeing the cover - and I’d set a goal - what would I want them to think, feel and do. Next, I’d dig into find an interesting revelation about that audience that no publication has tapped into.”

The winning artwork from Samantha Ablo

Third place went to Ghada Almaneae

Second place cover from Leina Daher

TKNOW YOUR PLATFORMS

Know your platforms guide 2024

he rise of gaming has been meteoric. But this has not happened in isolation. The pervasive influence of social media platforms and influencers has helped shape the gaming world and how it interacts with modern media. Call it a modern-day trifactor – gaming, influencers and social media.

We first started the Know Your Platform section to look solely at social media players like Facebook, Instagram and Snap. But it has evolved and morphed into something bigger. So we decided to call it Know Your Platforms. Subtle change I know, but it acknowledges that social media isn’t the only digital game in town. It is intertwined with the growing powerhouse of gaming platforms and the influencers who transverse both worlds.

So we have bundled them together in the section. We still cover ‘traditional’ social media platforms but want to include gaming platforms Twitch and Discord, along with the likes of Anghami. We hope they will come onboard in the future.

On the following pages, we have an impressive array of articles on gaming, social media and influencers from some of the best experts around.

The rise of gaming, social media and influencers has heralded a new era of entertainment, writes Justin Harper

Many influencers rose to fame as gamers, so they understand the world of gaming intimately, and use social media to great effectthink MrBeast. We expect to see more of these emerging. Through live streams, gameplay videos and social media posts, influencers offer a glimpse into their gaming adventures, entertaining and inspiring millions in the process.

Of course, there are other types of influencers, notably fashion, travel and cosmetics ones. But whatever your area of influence, the same rules, tips for success and laws apply – and we talk more about these in the following pages. Whether macro or micro, brands are working with them.

There is a paradigm shift among younger generations in how they consume and interact with entertainment, with the rise of gaming, influencers and social media. I see it first-hand every day with my own teenage sons. I feel like Fortnite is a member of our family.

In this new frontier of entertainment, gaming is not just a pastime but a platform for connection and creativity. Social media has evolved from personal connections into a platform for global communication, e-commerce and culture. And as for influencers, anyone can be one.

You’re familiar with sponsored/ branded content which is made with a creator with different levels of brand integration. You’re familiar with organic content which is brand driven, helpful or entertaining content by brand creators in order to build a stronger brand organic presence. So, what exactly are creator ads? Well, it is an ad made with a creator. That’s it. It is produced by or featuring creators as talent, based on YouTube trends and formats. Basically ads that don’t look like ads, native to YouTube and its content. They are ads that sit at the magical intersection of what creators want to do, what the audience cares about and how the brand wants to appear. So, what’s in it for brands?

CREATORS DRIVE IMPACT ACROSS THE FULL FUNNEL

In our line of work, we come across great campaigns with an amazing creative idea and exceptional execution that either fails to achieve its objectives or falls short on achieving its full performance potential. Most of the time this happens because the campaign is not optimized for the different funnel stages. Creator Ads help you meet your users at every step of the funnel which allows you to reach all your marketing objectives. And YouTube loves creator collaborations from awareness to consideration to action. Brand recall for creator content registers 4 times higher than traditional media. 8 in 10 campaigns with YouTube creators drive significant lifts in awareness and purchase intent and 63 per cent of YouTube viewers in the markets we’ve studied, say that they bought from a brand as a result of seeing it on YouTube.This doesn’t mean that you now have to ditch brand ads and replace them with creator ads. Interestingly, through multiple brand experiments we’ve run, we found that Creator Ads are actually a powerful tool that work even harder when partnered with a brand ad delivering the highest increase in ROAS and reduction in CPA compared to the brand ad and to the creator-only ad. For your next campaign: Do not limit yourself. Wherever you are in the funnel, augmentyour campaign with creators for assets that work for different parts of the funnel.

CREATORS UNLOCK NEW AUDIENCES

How many times have we attended briefings, shared research, watched panels and read articles about the most sought-after, ever-elusive Gen Z audience? Trying to reach new audiences with specific relevant interests always poses a challenge for brands and drives them outside their comfort zones. Creators have evolved to win fans faster than brands and audiences have kept up and kept listening which is why 70 per cent of YouTube subscribers say that creators change and shape today’s culture. Why this is important is because this can help locate and involve your brand among key audiences

CREATOR ADS SHOULD BE YOUR NEW CREATIVE LEVERAGE

Google’s Ali Cheikhali recommends three tips for your next brand campaign

“All the brand should do is identify a key message then let creators bring their own voice”

especially when 92 per cent of consumers trust creators more than traditional celebrity endorsements and 87 per cent of viewers agree that YouTube creators give recommendations they can trust. This seamless connection between creator and consumer has led to an abundance of loyalty. Something that not many brands can claim nowadays. As trust becomes an even more critical currency for the Gen Z audience, and all ages, you’ll need to harness creators’ honesty and integrity like never before.

For your next campaign: Let creators be your proxy. Let them do the heavy lifting for you by leveraging them as a more costeffective way to drive user action for your brand, faster.

CREATORS ARE MASTER STORYTELLERS

We all know how important storytelling is for brands particularly in the digital age where attention is the scarce commodity, not reach. With their digital-native experiences, Creators are more than just the talent you hire; they’re the hook. Fluent with audiences and experts in authenticity - they know exactly how to build that beloved bridge between consumers and brands. No matter where you start in the process, all the brand should do is identify a key message then let creators bring their own voice to the table. A clear brief allows both brand and creator to find the right balance and sets everyone up for success by making your brand stories richer, deeper and more grounded.

For your next campaign: As difficult as it sounds, free yourself from the stresses of storyboarding and storytelling by trusting the creator’s magic and their production style. Afterall, there’s a reason that audiences can’t wait to skip an ad, but proactively watch them for hours.

We need to start thinking about creators differently. No matter where you start with a Creator, or how you decide to tell your story, be intentional with how you partner with them. Then, sit back, enjoy the show and reap the rewards.

By Ali Cheikhali, Creative Strategy Lead, Google Creative Works

Founded: 1998 (Google), 2005 (YouTube)

Parent company: Alphabet

MENA head: Anthony Nakache, Managing Director,  MENA, Google & Tarek Amin, Director, MENA YouTube

Global HQ: Mountainview, California, United States of America

Regional HQ: Dublin, Ireland (EMEA Headquarters).

Number of users worldwide: Billions of users worldwide.  Platform description: Google’s mission is to organize the world’s information and make it universally accessible and useful. Through products and platforms like Search, Maps, Gmail, Android, Google Play, Google Cloud, Chrome and YouTube, Google plays a meaningful role in the daily lives of billions of people and has become one of the most widely-known companies in the world.

WHAT’S THE ONE THING YOU WISH MORE MARKETERS KNEW ABOUT YOUR PLATFORM?

Google Search plays an important role in exploration and evaluation, in fact 15 per cent of Search queries are new. Marketers can leverage Google’s AI-powered ads solutions by connecting with consumers at different stages of their journey. For example, Circle to Search helps people shop, get travel inspiration, quickly compare restaurants and more by using a simple gesture.  Google Lens also helps make the shopping experience more intuitive for consumers. In fact, Lens is used for 12 billion visual searches a month — a four-fold increase in just two years, and a growing number of those searches are multimodal.

Likewise, With billions of monthly users, YouTube reaches people on every screen across multiple formats. YouTube Shorts is now averaging over 70 billion daily views and on average viewers are watching over 1 billion hours of YouTube content on the big screen.  YouTube’s video ads powered by AI, give advertisers straightforward ways to connect with viewers across formats and devices on relevant content, which drives be er results.

WHAT MAKES A TOPIC ‘TRENDING’ ON YOUR PLATFORM?

Google Trends show spikes in searches within a chosen timeframe and geography.  Marketers are also able to remain upto-date, by downloading the trends screensaver.  Some of the top trending terms in Saudi Arabia, the UAE and Egypt last year included the Saudi Pro league, Oppenheimer, SeaWorld Abu Dhabi and Generative AI platforms.

YouTube considers a range of different factors including view count, how quickly a

video generates views and how the video compares to recent uploads from the same channel to identify if content is trending. Recent trends from MENA include zero waste living and bringing online gaming to real life. There is also interest in mental health - 2023’s top trending video was of a Saudi gaming creator, sharing his mental health journey.

WHAT ARE THE

UPCOMING FEATURES OR UPDATES THAT USERS CAN LOOK FORWARD TO?

With the launch of AI-powered asset generation and image editing in Performance Max campaigns, advertisers will be able to generate more text and image assets with just a few clicks. Google’s new Product Studio, designed with Google’s AI Principles top of mind, brings the benefits of generative AI to businesses of all sizes, helping them create unique and tailored product imagery for free, while ge ing more value from their existing images.

YouTube also announced new AIpowered tools that will take the friction out of content creation. This includes AIpowered insights on YouTube Studio and Dream Screen which allows creators to generate a background using a simple text prompt.

WHAT MAKES A SUCCESSFUL BRAND CAMPAIGN?

A successful Google Ads campaign relies on the alignment of clear business goals, robust measurement, and strategic use of AI tools. By establishing a focused strategy and tracking key performance indicators, marketers can optimise campaigns and leverage AI for tasks like automated bidding and audience segmentation. One example was run by a Saudi charity Al Wedad that used a data-driven strategy

with AI tools to raise funds for orphans during Ramadan last year.

Successful brand campaigns on YouTube combine effective creative along with creator engagement and YouTube’s AI powered ad solutions to reach the right audience at the right time. For example, Honor worked with top content creators to create their ads, and used YouTube’s Video Reach and Video Views campaigns to drive awareness and consideration for their latest launch.

WHAT STRATEGIES DO SUCCESSFUL CONTENT CREATORS ON YOUR PLATFORM USE TO GROW THEIR AUDIENCE AND ENGAGEMENT?

YouTube’s most successful content creators use a combination of experimenting with different formats, engaging with their audience (this includes listening to them) and being authentic.

HOW DOES THE PLATFORM STAY RELATABLE?

YouTube has a community for everyone while offering creators multiple formats to engage with their community, reaching people on every screen. In fact, creators say that the connections they build on YouTube are deeper and more meaningful than any other platform.

WHAT’S YOUR VIEWS ON ENGAGEMENT, ATTENTION AND USERS REALLY INTERACTING WITH THE CONTENT?

These are great signals for YouTube creators to learn what works best and what interests their community the most. It also reflects what’s top of mind for people in the region. The same is true for marketers - so it’s important to make sure that content really stands out and is authentic to the audience they’re to reach.

Founded: 2011

Parent company: Snap Inc.

Regional head: Hussein Freijeh, Vice President, MENA, Snap Inc.

Global HQ: Santa Monica, California, US

Number of users worldwide: 800 million monthly active users

Description: Snap Inc. is a technology company. We believe the camera presents the greatest opportunity to improve the way people live and communicate through visual self-expression and storytelling.

WHAT’S THE ONE THING YOU WISH MORE MARKETERS KNEW ABOUT YOUR PLATFORM?

Snapchat was really created to be different to traditional social media. Our founders didn’t like the way that people were being pressured to post a perfect version of themselves. They created Snapchat to be an alternative, through features like ephemeral messaging, privacy controls and a focus on genuine connections with close friends, family and people with influence. Snapchat is the place where GCC nationals connect with their friends and family, and share their day-to-day experiences. It is a natural digital extension for GCC locals - mimicking their life interactions. They love the fact that it gives them a way to maintain their connections, in a private place where they can be themselves with no pressure, and share everything from the highlights to the mundane with the people who ma er to them most.

HOW HAS THE PLATFORM’S USER DEMOGRAPHICS SHIFTED OVER TIME?

Snapchat is a natural fit in the GCC culture because it is fundamentally different. In KSA alone we have over 22 million monthly active users and the platform currently reaches 90 per cent of 13-34 year olds. When we look at the UAE, Snapchat reaches 1 in 3 of 18-34 year-olds. This strong relevance to GCC culture makes Snapchat a unique place that is visited over 45 times a day, making it the most frequently used app throughout the day, a place where people come to chat with friends and family, catch highlights from their favourite show or share moments from their lives.

WHAT MAKES A TOPIC ‘TRENDING’ ON YOUR PLATFORM?

Creators and partners who optimise their posts with Snap tools, tags and captions are much more likely to see them trending. Trends on Snapchat are very diverse and we see them evolving from time to time. For example, this month, Ramadan’s on our list of top trends, especially with the Snap Ramadan AR Mall, we’re noticing that Snapcha ers are also looking into shopping, cooking, fitness and shows relating to the Holy Month.

WHAT ARE THE UPCOMING FEATURES OR UPDATES THAT USERS CAN LOOK FORWARD TO?

We are working on a wide range of features that can help support the growth of creators in the region. As part of our commitment to enhancing the region’s creator ecosystem, we also look forward to being in touch with our local audiences. Especially through our upcoming office openings in Qatar and KSA, which will further support local talent and help us unlock more localised updates over time.

WHAT MAKES A SUCCESSFUL BRAND CAMPAIGN?

I always stress the importance of truly resonating with your audience, ensuring your message cuts through the noise and stands out. A great example of a campaign that showed the possibilities of AR as a powerful engagement tool is The Chefz Founding Day campaign. During last year’s Saudi Founding Day, The Chefz, an online platform for food discovery and ordering, opted for a multi-product approach, collaborating with Snapchat to create Video Ads, Snap Ads, and an AR Lens for their campaign to generate remarkable engagement and virality.

The campaign achieved an impressive average Lens playtime of 23.82 seconds, achieving more-than 3x the industry standard in terms of shares, and the AR Lens garnered over 3x more saves than industry averages. The Chefz saw clearly how their brand creative resonated with Snapchat’s audience and the return on ad spend exceeded 20x, underscoring the exceptional return on investment.

WHAT STRATEGIES DO

SUCCESSFUL

CONTENT CREATORS ON YOUR PLATFORM USE TO GROW THEIR AUDIENCE AND ENGAGEMENT?

Programmes like the Snapchat’s Stories revenue share programme have transformed the creator landscape by seamlessly integrating ads within creators’ stories. We also help connect creators with brands through our Snap Star Collab Studio which also makes it simpler to measure branded creator-led campaigns. On Snapchat, creators share their true authentic selves, taking followers behind the scenes and sharing their day-to-day. They tell us they love Snapchat because it’s less pressure, they feel closer to their community and much more connected on a daily basis.

HOW DOES THE PLATFORM STAY RELATABLE?

Our number one use case has always been messaging with friends, not scrolling through a public feed. Our app mimics real-life interactions and conversation, including privacy. Conversations delete by default because that’s how conversations work in real life and that is how GCC locals love their privacy. We’ve never had social validation metrics when you share your story with your friends – there’s no need to be perfect.

Regional head: Akshat Harbola

Global HQ: Stockholm, Sweden

Regional HQ: Dubai, UAE

Number of users worldwide: 602 million

Today, more listeners than ever can discover, manage, and enjoy over 100 million tracks, 5 million podcast titles, and 350,000 audiobooks a la carte on Spotify. Spotify is the world’s most popular audio streaming subscription service, with more than 602 million users and 236 million subscribers in more than 180 markets.

WHAT’S THE ONE THING YOU WISH MORE MARKETERS KNEW ABOUT YOUR PLATFORM?

Over 80 per cent of Spotify users say that the core reason they return to Spotify is personalisation and the strength of its recommendations. We provide a positive and personalised experience for 602 million fans globally with innovative and interactive experiences like Discover Weekly, Blend, and daylist. It’s part of our DNA to stay innovative – we use this superpower to create impactful connections between artists, listeners and brands.

HOW HAS THE PLATFORM’S USER DEMOGRAPHICS SHIFTED OVER TIME?

We are witnessing growth across all age groups, with Gen Alpha experiencing significant increases, while Gen Z remains the fastest-growing age group. Additionally, the consumption of local music has steadily increased over the past five years.

WHAT ARE SOME RECENT FEATURES THAT USERS CAN CHECK OUT?

Ramadan Destination: We have returned with a new and improved Ramadan Destination that will serve as your audio companion throughout the Holy Month. Personalisation is at the forefront, where you can find a combination of music and podcasts intended to promote selfreflection, wellness and entertainment. Users can also explore personalised music on the ‘Your Ramadan 2024’ playlist and discover the music that resonated with them the most during the month.

WHAT MAKES A SUCCESSFUL BRAND CAMPAIGN?

Having a relevant consumer and cultural insight that resonates with your audience and is relatable to them is essential. Understanding your audience - their habits, sense of humour, music preferences, favourite artists and the cultural moments that ma er to them - is key to ensuring that your campaign is not only successful but also authentic. It should avoid being gimmicky and demonstrate that your brand plays a genuine role in your audience’s daily lives.

WHAT STRATEGIES DO SUCCESSFUL CONTENT CREATORS ON YOUR PLATFORM USE?

At Spotify, we are dedicated to cultivating the ultimate platform for creators—a space where they not only establish their careers but also flourish and expand their reach, inspiring audiences worldwide with their creativity. As part of this mission, we continuously enhance our suite of tools to empower artists to connect with their most passionate fans. A fundamental strategy embraced by many successful creators involves focusing on brand building and understanding their audience. Here at Spotify, we offer robust tools tailored to these objectives.

Through Spotify for Artists and Spotify for Podcasters, creators gain access to invaluable data insights, allowing them to understand how their content resonates with their audience. With Spotify for Artists, artists, and their teams can meticulously craft their brand identity, from updating profile pictures and bios to utilizing Canvas—a short looping visual format that enhances

artistic expression at the track level. They can also leverage features such as Concerts to inform fans about upcoming performances. Additionally, our platform provides insights and data-driven recommendations, empowering artists to pitch their music for inclusion in editorial playlists and make informed decisions about their career trajectory.

Similarly, Spotify for Podcasters consolidates the best podcasting tools into a unified platform, simplifying the creation, management and growth of podcast content. This includes enhanced access to unique Spotify features such as video podcasting, interactive Q&A, and polls, all designed to deepen listener engagement.

HOW DOES THE PLATFORM STAY RELATABLE?

To keep a platform relatable, it is important to truly understand our users and adapt as the world changes. At Spotify, we’re all about innovation – it’s in our DNA, so we listen closely to our creators and listeners and constantly refine our innovations and features to fit their needs and make their experience even greater. Take our social features like Blend and Jam, for instance – they’re all about bringing people together in today’s world where connection is key. Staying relatable is all about being quick to change, staying creative, and sticking to what ma ers most to the values of your business. For Spotify, our personalisation keeps people coming back, so we’re always working to make sure your Spotify experience feels tailor-made just for you. That way, we’re always true to why you chose our platform in the first place.

Since Chat-GPT and its ability to rapidly generate text-based content rose to prominence in early 2023, AI has become a fixture in tech news and beyond.

From the WGA strike that brought Hollywood to a standstill, to accidents involving self-driving cars, public discourse concerning artificial intelligence often carries as much caution as optimism.

One area in which AI’s impact has yet to be fully understood is deepfakes. With the technology readily available to imitate faces, mannerisms, and voices of famous figures, even the keenest eye can be deceived. This means that faked content can be circulated with the potential to ruin reputations and even influence election results.

Worse still, it could be detrimental to celebrities’ earning power.

‘‘Agencies in particular should exercise caution if using digitally created infl uencers”

advertising industry, as brands and agencies might use AI technology to lower the cost of content production and eradicate the need to pay endorsement fees to influencers. At the same time, influencers will be keen to safeguard their revenue streams and curtail their replacement by digital simulations.

AI AND THE UAEʼS

INFLUENCER SCENE

CWB’s Cameron Crawford explains the dangers of deepfakes on digital platforms

As is often the case, the music industry was the canary in the coalmine for piracy enabled by technological advances. In April 2023, the AI-generated track ‘Heart On My Sleeve’ appeared to be a new collaboration between Drake and The Weeknd. It generated global headlines, and a Grammy nomination was rumoured.

More recently, the alarm has been raised in other sectors of the entertainment industry. The estate of George Carlin filed a lawsuit to prevent what was billed as an AI-generated comedy set of the late comedian. As his estate’s legal team put it, the show was “a piece of computer-generated click-bait which detracts from the value of Carlin’s comedic works and harms his reputation. It is a casual theft of a great American artist’s work.”

The opportunity created by the new technology is clear; record labels and movie studios can significantly reduce the cost of content production and also create new material based on the look and sound of beloved deceased artists.

Unsurprisingly, deepfake tech also raises novel legal questions as to what can be ‘owned’ and what is protectable under law.

The precise legal status of image rights is a matter of debate in most jurisdictions, with celebrities’ legal teams using legal concepts such as copyright, passing off, privacy, and defamation to preserve the integrity and value of their personal brand.

HOW MIGHT AI AFFECT BRANDS AND AGENCIES IN THE UAE?

While the uncertainties posed by deepfakes to the music and film industries may represent billion-dollar questions in LA and London, these are relatively nascent sectors in the UAE.

UAE law has long protected individual citizens’ rights to preserve the integrity of their public image and reputation.

While image rights may not enjoy the same protection under law as, for example, copyrighted works, there are other legal concepts available.

Defamation is not only a crime under the UAE’s Penal Code but is also expressly covered by Anti-Cybercrime laws (both enacted in 2021, when the UAE federal government issued a raft of best-in-class legislation).

Defamation is defined widely to include ‘insults’ and exposing the subject to ‘punishment or contempt’, giving authorities significant latitude in interpretation. This might well include where a person is purported to have endorsed a product or service with which they have no actual connection; if a faked endorsement is seriously off-brand, the effects could be catastrophic.

In addition, anti-cybercrime laws criminalise taking photographs and making footage of citizens without permission, consistent with cultural norms that emphasise the importance of an individual’s right to privacy.

Therefore, it is difficult to conceive that such a legislative environment would permit generators of deepfake content to act with impunity in relation to others’ images.

Agencies in particular should exercise caution if using digitally-created influencers. Arguably, even if there is no deliberate attempt to confuse the audience, any similarity of the avatar to UAE residents may lead to an investigation for defamation.

While legislative bodies across the globe rush to keep up with technical advances, it is perhaps reassuring that principles established in the era of print hold true in the face of AI.

100,000 per endorsement post.

However, with all-year sunshine and a famously photogenic skyline (not to mention a favourable tax environment), Dubai is a major hub for social media influencers. Globally, this sector has risen in importance to become worth an estimated US$250bn annually, according to Business Insider. Leading names can charge in excess of AED 100,000 per endorsement post.

may provide opportunities for the UAE’s

In this context, innovative tech solutions may provide opportunities for the UAE’s

By Cameron Crawford, Partner, Head of Media & Entertainment at CWB

The most important metric on social

In the ever-evolving landscape of social media, metrics have become the compass by which we navigate our success, writes Hashtag’s John Karam

Likes, comments, followers –these are the signposts that have traditionally guided marketers in their quest for digital dominance. But as the sands shift beneath our feet, a new king of metrics emerges, one that reigns supreme in the realm of conversion and sales: shares.

The mirage of likes and comments

In the Middle East, a region burgeoning with digital potential, marketers have long fixated on the mirage of likes and comments. These metrics, while indicative of engagement, are often ephemeral – a fleeting nod of approval that lacks the momentum to propel a brand forward. They are the applause at the end of a performance, warm but transient. Yet, it’s crucial to recognise that while likes and comments signal that people appreciate your content, they don’t necessarily equate to a willingness to purchase your product or service. They represent a momentary engagement, not a committed action towards a sale. In the vast marketplace of social media, where attention is fleeting, these metrics are but the first step in a much longer journey towards actual conversion. They are the initial handshake, not the final transaction.

Followers: The caravan of potential

Followers represent the caravan of potential that every marketer in the Middle East wishes to lead. A large following is impressive, a testament to a brand’s reach and influence. Yet, this metric is but a promise, not a guarantee of sales or engagement. It is the crowd that gathers, not the customers who purchase. In the dynamic landscape of social media algorithms, merely following a page doesn’t ensure that its content will consistently appear on one’s feed. This uncertainty renders followers a vanity metric at times, one that may inflate a brand’s perceived size without necessarily contributing to its active consumer base. As algorithms prioritise user engagement and content relevance, the sheer number of followers becomes less indicative of a brand’s visibility and more of a superficial indicator of its stature.

Shares: The currency of conversion

Shares stand apart. When a user shares content, they’re not just endorsing a brand; they’re extending its reach, weaving it into the fabric of their own social narrative. Shares are personal recommendations, digital word-of-mouth that carries weight and trust. In the Middle East, where

community and word-of-mouth hold significant sway, shares become the currency of conversion.

Content that ignites shares

The question then becomes, what kind of content ignites the desire to share? The answer lies in value and emotion. Content that educates, entertains, or evokes a strong emotional response is share-worthy. It’s the how-to guide that solves a common problem, the heartwarming story of triumph, or the humorous meme that captures a cultural moment. This content doesn’t just get seen; it gets spread.

Views and awareness: The Horizon of opportunity

While shares are pivotal for conversion, views are the horizon of opportunity. They represent awareness, the first step in a user’s journey from observer to advocate. Views are the seeds from which the fruits of engagement grow. They are the silent spectators that may one day become the loudest supporters.

Engagement: The oasis of consideration Engagement, encompassing likes and comments, is the oasis where consideration blooms. It is the dialogue between brand and consumer, the relationship that builds over time. Engagement is the investment in a community that, while not immediately lucrative, cultivates loyalty and long-term returns.

The convergence of metrics

While each metric holds its own value, shares emerge as the most critical in the vast desert of social media. They are the lifeblood of sales and the endorsement that money can’t buy. As marketers, especially in the culturally rich Middle East, we must strive to create content that is not just seen or liked, but shared. For in the act of sharing, we find the true measure of our social media success.

Remember, the key to a successful social media strategy is understanding the unique value of each metric and crafting content that leverages their strengths. Shares, views and engagement are not solitary travellers in the desert of digital marketing; they are a caravan, each playing a vital role in the journey to success.

By John Karam, Senior Social Media Manager, Hashtag

Founded: 2012

Parent company: ByteDance

Regional head: Shadi Kandil, General Manager, Global Business Solutions, Middle East, Turkey, Africa, Central and South Asia - TikTok

Global HQ: Los Angeles

Regional presence: Dubai, Riyadh, Istanbul, Almaty, Johannesburg

Number of users worldwide: Over 1 billion

Description: TikTok is the leading destination for short-form mobile video. Our mission is to inspire creativity and bring joy. User demographics: The demographic mix is very similar to overall country demographics in this region. With the common factor being a love of creativity, entertainment and authenticity.

WHAT’S THE ONE THING YOU WISH MORE MARKETERS KNEW ABOUT YOUR PLATFORM?

TikTok is defined by the deeply ingrained culture of authenticity and its diverse, active and vibrant community, and we are continiously working on educating businesses across the region about the positive impact this can have on their individual business goals if leveraged strategically. Unlike conventional marketing approaches that often rely on scripted narratives, the creative economy fostered in TikTok creates genuine, relatable, and most importantly, trusted content. This is why we see deeper engagement on TikTok: the “Impact of Emotional Entertainment” study by Ipsos and MediaProber revealed that TikTok’s short-form video content holds active a ention of a user with 1.6x more time spent on each video compared to other digital platforms. And, of course, this combination of authenticity and trustworthiness is associated with higher ad recall and a smoother journey from discovery to purchase, leading to a direct impact on business goals.

HOW HAS THE PLATFORM’S USER DEMOGRAPHICS SHIFTED OVER TIME?

There’s something for everyone on TikTok. The TikTok community is a reflection of our communities at large; diverse ecosystems of creators, people, culturedrivers, and everything in between. We now see users unite into communities based on their interests. For example, recipes, food and restaurant reviews in the #FoodTok community have already gathered more than 2.6 million video

creations. The #BeautyTok community shares beauty and self-care tutorials and has almost 5 million videos posted, while the #LearnOnTikTok hashtag with educational content already has more than 32 million creations. This trend underscores our commitment to fostering a rich, inclusive creative ecosystem that resonates with and inspires our global community, thereby drawing in a diverse audience that transcends age and generational groupings.

WHAT MAKES A TOPIC ‘TRENDING’ ON YOUR PLATFORM?

Our community has made stars out of musicians like Olivia Rodrigo, and brought about big wins for brands including EOS shaving cream, the brown GAP hoodie, Goldfish crackers, and the Maybelline ‘Sky High’ mascara, to name a few. That is why we say “It Starts on TikTok.” Trends happen naturally and regularly because of the way our community participates in and engages with content on the platform.

WHAT MAKES A SUCCESSFUL BRAND CAMPAIGN?

Last year, Colgate tapped into the entertainment content of Ramadan by collaborating with creators to showcase how much they can continue to enjoy their much loved cup of coffee or tea during Iftar without having to worry about staining their teeth. By allowing the creators to bring the story to life in their own unique styles, they created mini episodes from popular Ramadan genres, like comedy and drama. During the busy month of Ramadan, breaking through the noise can be challenging. To make a real impact, Colgate turned to TikTok Creator

Marketplace to seamlessly find the right creators, reach sub-communities across Saudi Arabia and boost engagement with their storytelling expertise. The results speak for themselves – Colgate created a truly impactful ad experience that stood out during the busy season.

WHAT STRATEGIES DO SUCCESSFUL CONTENT CREATORS ON YOUR PLATFORM USE?

Authenticity is key, and you’ll find that the most successful TikTok creators are those who show up authentically and consistently on the platform. These creators also lean into the TikTok community. They truly understand what the community cares about by regularly viewing TikTok videos and looking into trending hashtags, challenges, and sounds, bringing their own unique twist into the mix. Creators also utilise analytics, measuring how their videos perform, using the data and tools available to them, as TikTok does offer insights that can help optimise videos.

HOW DOES THE PLATFORM STAY RELATABLE?

Our community thrives on hearing compelling stories from real people –with the brands that have embraced this ethos seeing significant results. Our users are served content that is relevant to them in that moment, based on their consumption pa erns and interests vs. what they are explicitly looking for, or what their echochambers of friends, family, people they follow are posting. And hence, people consume content they genuinely find engaging, exciting and educational.

In the dynamic landscape of today’s digital world, one realm stands out for its meteoric rise and boundless potential: gaming. As the Middle East’s gaming community grows, drawing in millions of players from all walks of life, Pizza Hut has been keenly observing and actively participating in this revolution, connecting with audiences in ways that are both meaningful and delightful. Our journey into the gaming universe is a tale of innovation, engagement, and fun, perfectly embodying our brand’s spirited language.

THE NEXUS OF GAMING AND BRAND ENGAGEMENT

Gaming is not just an entertainment medium; it’s a vibrant culture and a growing market ripe with opportunities for brands willing to dive into its depths. Today, gaming influencers are the new celebrities, wielding significant influence over vast communities. These communities are not just playing games; they’re engaging in social interactions, following storylines, and experiencing brand integrations in environments that command their full attention.

For brands looking to tap into this dynamic space, authenticity is key. Gamers can spot insincerity from a mile away. Pizza Hut understands this. Our approach has been to engage with the gaming community in a manner that resonates with the core values of gaming culture: authenticity, passion and fun. This involves creating real connections through social media authenticity, employing influencer collaborations that speak in the audience’s language, and delivering content that gamers can relate to and appreciate.

BRIDGING WORLDS

At Pizza Hut Middle East, we’ve embraced gaming not just as a marketing channel, but as a platform for genuine connection with our audience. Our initiatives have included hosting online esports competitions with popular game titles and bringing communities together to celebrate both gaming and pizza.

Through these events, we’ve fostered a sense of camaraderie and competition, integrating our brand into the fabric of gaming culture.

We’ve also explored merch collabs with popular gaming brands, creating unique accessories that fans of both worlds can enjoy. This strategy not only strengthens our bond with the gaming community but also allows us to be a part of their everyday lives.

Integrating our product launches and marketing calendar with the gaming calendar has allowed us to sync our efforts with major gaming events, social media, and esports competitions. By doing so, we ensure that our promotions are timely and relevant, offering special deals and themed products that coincide with the latest game releases or esports tournaments.

One innovative avenue we’ve explored is the creation of “The Hut” on Roblox,

which integrates the Pizza Hut brand in a fun, unobtrusive way. Imagine navigating a world to make our popular and delicious pizza on time, or climbing up the world to unlock exciting in-game Pizza Hut merch with each level designed to mimic the real-life excitement (and sometimes, the chaos) of a Pizza Hut kitchen. These experiences aren’t just advertisements; they’re extensions of our brand’s story, told in a language that gamers understand and appreciate.

TOP TIPS

Know your audience: Understand the demographics and preferences of the gaming community you wish to engage with. Not all gamers are the same, and a one-size-fits-all approach won’t cut it.

TIPS FOR BRANDS DIVING INTO GAMING

Pizza Hut Middle East has embraced gaming as a platform to create genuine connections with its audience

Engage authentically: Work with influencers and content creators who genuinely love your brand or product. Their authentic enthusiasm will be infectious among their followers.

Innovate creatively: Think outside the box for brand integrations. Gamers appreciate creativity, so the more innovative your approach, the more it will resonate.

Respect the platform: Whether it›s Twitch, YouTube Gaming, or any other platform, understand its culture and norms. Tailor your content and campaigns to fit the platforms unique environment.

As we look to the future, the intersection of gaming and brand marketing holds untold potential. The continued evolution of technology, including AR and VR, offers unprecedented opportunities for immersive brand experiences. Pizza Hut is excited to explore these frontiers, always with a slice of fun and a topping of innovation.

Moreover, the advent of social gaming and esports has transformed gaming into a spectator sport, opening new avenues for brand collaborations and sponsorships.

LEVELING UP

At Pizza Hut Middle East, our goal is to create moments of joy and connection, bridging the world of gaming with the universal love for pizza. Through authentic engagement, innovative collaborations, and a deep respect for the culture of gaming, we’re not just reaching out to gamers; we’re inviting them to share a slice of the fun with us.

By Beverley D’Cruz and Aya Laimoun, Pizza Hut Middle East and Pakistan

Aya Laimoun

Beverley D’Cruz

THIS MONTH’S SOCIAL MEDIA UPDATES

TikTok is promoting longer video content, while LinkedIn is extending the lifespan of user content on the platform with its latest algorithm update! But wait, there's more!

Let's explore this month’s key social media highlights.

THREADS

Plans to release its API soon

Having already tested it with Hootsuite and Techmeme, Threads is set to launch its API by the end of June, opening the door for developers to create third-party applications for the platform.

Expands content creation features

Threads is now rolling out its in-stream camera and post draft options to all users, providing more flexibility in content creation and sharing.

META

Passes Apple’s fees to advertisers

It announced that Meta will start charging advertisers a 30% fee for boosting posts on Facebook and Instagram iOS apps due to its ongoing dispute with Apple regarding in-app purchases.

Explores new additions for verified subscriptions

To boost sign-ups for its Meta Verified program, the platform is surveying users about potential new features they would pay for. These include links in Reels, faster ad reviews, among others.

TIKTOK

Rolls out “Search Insights”

Finding content inspiration on TikTok will become easier with the introduction of "Creator Search Insights." It will help creators identify trending searches, simplifying content creation.

X (TWITTER)

Introduces “Articles”

Improves post boosting

The platform is introducing a new feature allowing users to boost posts without including copyrighted music, ensuring their original content remains unchanged.

Explores carousels in Reels

You may soon have the ability to share multiple videos or images in a single Reel post, similar to TikTok, as Instagram is testing the integration of carousels within Reels.

X has launched its Articles feature for Premium+ subscribers, which resembles a built-in blogging platform with diverse formatting options to help distinguish articles from other post types.

Unveils a TV app

Musk plans to launch a YouTube-like TV app, initially available on Amazon and Samsung smart TVs, as part of his effort to shift towards video content and promote longer viewing sessions on the large screen.

LINKEDIN

The expansion will enable businesses to promote organic content from any user within the app, not just their own employees. Those whose content is selected for promotion will receive a notification

Refines its feed algorithm

The updated content distribution algorithm prioritizes valuable, evergreen content that cultivates knowledge over fleeting trends and virality. Consequently, this change may result in top content enjoying an extended lifespan.

YOUTUBE

Introduces Community Posts feed

There will be a new mobile-only feed focused solely on Community Posts on YouTube, enabling users to easily explore updates from Channels they follow and discover recommended posts.

Enhances Channel pages on smart TVs

YouTube is updating Channel pages for Creators on smart TVs with a more immersive layout, featuring a larger background, prominent subscriber count, and improved navigation.

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THE CREATIVE AGENCY EVOLUTION IN A SOCIAL-FIRST WORLD

Commonwealth McCann’s Andrej Arsenijevic says

social media commands attention as a leading and integrated channel

In the dynamic media landscape, agencies and brands are relinquishing power to people on social media. The rise of social media has completely turned our industry upside down. As a consumer, I feel empowered to have a voice, and as an ECD, I take the power of the consumer seriously. Just look at the effect of social media and subsequent widespread boycotts of some brands; it not only impacts the brand profile but also hits their financial share price and earnings.

A few years back, our agency group embraced a shift towards prioritising social media, a strategic pivot that required client collaboration and a willingness to innovate with our content strategies. The outcomes have been illuminating. Some of our clients experienced a remarkable upsurge in active engagement (the sum of comments, shares and saves), positive sentiment and community growth. All this is done with fewer posts and a focus on what matters. Reflecting on this journey, it’s clear that the insights gained are valuable and well worth sharing.

NAVIGATING A SOCIALFIRST WORLD

Previously, social media creative was an afterthought or a campaign add-on. But today, social media commands attention as a leading and integrated channel, given its ever-increasing contribution to growth in a brand’s profile and business. Many smaller agencies transformed to adopt a social media-first approach and grew exponentially. But here is the thing: brands struggle for visibility because of the enormous amount of content.

According to LocaliQ, 625 million videos are viewed every minute, just on TikTok. There are two options for brands to be visible: Big media budgets or unskippable and engaging creative content. That’s why creativity and the social media team must go hand in hand.

TREND-CHASING VS. CULTUREBUILDING

There are still too many briefs in the industry asking to focus on trends, a

tactic that barely inserts brands into existing mainstream culture conversations. However, authentic engagement, which cultivates brand narrative and advocacy, comes from the ability to embed your brand into culture. For all the creatives out there, I sincerely hope you have a social analyst on your team and are best friends with them. In our agency group, they help us uncover

‘‘Without consistency, you risk the brand going unnoticed”

unique insights, spot when trends become a culture, connect with the audience on a deeper level, and build support for creative ideas.

CONSISTENCY FOR THE WIN

The creative agency should be like a great football team. Each member plays a unique role in harmony with a team goal. In that sense, creatives must be at the heart of creating work for social media. Creatives ensure that big ideas and brand voices deliver a premium, authentic, consistent voice. With media consumption being so dispersed, brand consistency is paramount. Through various tools in MCN, we can analyse the consistency of the brand’s social voice and pinpoint what to improve. Without consistency, you risk the brand going unnoticed regardless of the budget spent.

VISUAL EVOLUTION

With the rise of TikTok and imagegenerating AI tools, visual trends are in constant flux. These trends are shaping the culture zeitgeist that brands must adeptly navigate. Crafting a brand’s presence to be both distinct and platform-appropriate is essential. It’s like going to a music festival and choosing

the proper attire. Our native content approach on TikTok for our clients increased engagement four times and more than doubled platform views in some cases.

EMBRACE EXPERIMENTATION

From our experience, entertaining and visually engaging content works well on social. This is a fantastic opportunity for creatives to play. What we have here is the brief to make the content fun or else risk being irrelevant. But the platform is constantly changing, and an algorithm is evolving. Success on such a platform relies not on hacking algorithms but on fostering a culture of experimentation and continuous improvement supported by clients who share this vision. Learn from best practices and then change them.

AUTHENTICITY

We must protect it at all costs. Authenticity fosters trust, a cornerstone of a successful brand. We apply this principle when collaborating with influencers and other brands. They must be genuine and aligned with our client’s brand values. What started as fake news is now threatening to infiltrate all the areas of social media. It’s getting harder to spot what is fake or misleading, and we must insist on keeping brand communication authentic and genuine. The power shift to social media is real, and all brands must find a way to fit in while staying strong and true to their unique identity.

By Andrej Arsenijevic, Executive Creative Director at Commonwealth McCann

Founded: 2012

Office: Dubai

Advertising & Marketing (Brand Activations)

www.iam-me.ae

04 2593572

info@iam-me.ae

AWARDS WON: Quality and Service award from Alpha Italia

KEY CLIENTS: Versace, Estee Lauder, Adidas, Mapyr, Guerlain, Asics,Babyzen, Tomford, Kilian, Samsung

DO YOU MANAGE TALENT?

No

DO YOU FOCUS ON SPECIFIC SECTORS?

Beauty & Cosmetics, Electronics & Fashion

WHAT’S YOUR BEST PIECE OF ADVICE FOR BRANDS LOOKING FOR SOCIAL MEDIA INFLUENCERS?

Check an influencer’s engagement rate and overall following

to ensure they have an active and engaged audience. You want to work with influencers who have a real connection with their followers and can drive meaningful engagement.

Look for influencers whose niche or area of expertise aligns with your brand’s industry or products. For example, if you sell beauty products, you may want to work with beauty influencers who can showcase your products to their audience.

CAN YOU NAME A RECENT CAMPAIGN INVOLVING SOCIAL MEDIA INFLUENCERS YOU ARE PROUD OF?

Atkinson Event

HOW DO YOU MEASURE THE IMPACT OF A CAMPAIGN?

Reach and Impressions: These metrics help you understand how many people have seen your content. Reach refers to the total number of unique individuals who have seen your content, while impressions refer to the total number of times your content has been displayed.

Engagement: This includes likes, comments, shares, and other interactions with your content. High engagement rates indicate that your content is resonating with your audience.

Conversions: This refers to the number of people who take a specific action, such as making a purchase or filling out a form, as a result of your campaign.

Click-Through Rate (CTR): This measures the percentage of people who clicked on a link in your content. A high CTR indicates that your content is driving traffic to your website.

Cost per Acquisition (CPA): This measures the cost of acquiring a customer through your campaign. It is calculated by dividing the total cost of the campaign by the number of conversions.

THE FIVE MISTAKES TO AVOID IN INFLUENCER MARKETING

The appetite for content creators remains strong and it will keep on growing, says OMG’s Anthony Nghayoui

The creator economy has not been immune to the ambient volatility; nevertheless, advertisers’ appetite for influencers keeps on growing. We’ve seen influencer marketing pass through a period of sudden hype and then moments of scepticism to finally emerge as a medium that nearly 84 per cent of advertisers believe drives higher-quality customers than other channels (according to a survey by Influencer Marketing Hub).

If you’re partnering up with influencers amidst all the trends and fads, here are five ‘watchouts’ to consider.

SEPARATING INFLUENCERS FROM THE BRAND’S OVERARCHING MEDIA STRATEGY

It’s time we all acknowledged the media value of influencers as they strive to put brands front and centre. With mounting pressure to demonstrate its effectiveness, influencer marketing is no different than other media channels, yet it’s commonly separated from media strategies and planned its own silo. When planned in an integrated manner, influencer campaigns can align with other media activities to boost brands’ North Star objectives effectively. While paid media provides heightened control in targeting, budgeting and bidding, content creators cut through social platform noise and convey relevant and memorable branded messaging: the missing piece of the puzzle.

PLANNING CONTENT-FIRST CREATOR CAMPAIGNS

Every ad campaign in history has had one of two ultimate business objectives: selling products or raising equity. Outside those objectives, you’ve got yourself a cool art project. Planning is arguably the deciding factor for any influencer campaign, so examine each creator like you would with a media channel. Look at who they reach and how they perform, then review the content they create and how they align with the

‘‘Allowing them creative freedom to truly connect their audience to the brand”

brand’s values. After all, what good can come from achieving massive levels of engagement if it’s all out of geo?

Content and brand alignment undoubtedly play the most prominent roles in succeeding against business KPIs. According to Kelly Mokbel, Social Media Manager at OMD, “quality over quantity is crucial when selecting influencers, as genuine affinity and resonance with the brand’s message are more likely to drive meaningful results than prioritising reach alone.”

SELECTING SOFT METRICS (LIKE ENGAGEMENT) AS ULTIMATE SUCCESS MEASURES

The creator industry can use more standardization in metrics and KPIs; that’s for certain. But another thing is also true: you can’t take hype to the bank and you sure can’t cash ‘buzz’. Not that sales metrics are the only metrics that matter: brand conversations and share of voice are important micro-KPIs tied to brand equity. Engagement is a hygiene metric, not a goal, that merely helps put a number to content quality and how it resonates with specific audiences.

ASSUMING SMALL INFLUENCERS HAVE NO ‘INFLUENCE’

‘Influence’ is no longer the main reason advertisers utilise creator marketing. Creator

content offers a different value to consumers than polished, brand-led studio content, as it delivers branded messaging that connects with niche segments on a more personal level. According to OMG’s Social & Influencer Specialist, Aya Diab “it’s not the clout of major celebrities that captivates clients, but the creator’s knack for crafting content that resonates with the brand and its audience. The essence lies in their ability to take a product and weave creativity into its presentation, ensuring it transcends into content that their audience can enjoy and would never feel like a paid advertisement.”

APPLYING TOO MANY BRAND GUIDELINES

According to a 2023 US study by the IAB and TalkShoppe, both creator and studio content play significant, though distinct, roles in consumers’ lives. The research indicates that while studio content tends to be more memorable, creator content’s relevance can accelerate the purchase journey. Hence, applying excessive brand guidelines may dilute the impact of creator content. Finding creators who can fit and embody the brand’s values and handing off creative control to them is crucial to earn attention in today’s creator landscape.

According to OMD MENA’s Head of Engagement, Christine Najarian “that kind of breakthrough can be achieved by enabling creators to show up in unexpected ways to tell the brand’s story. It’s about allowing them creative freedom to truly connect their audience to the brand with context and culture in mind.”

Let’s end with a few simple ‘dos’: think audience first, performance second, then brand alignment and content quality when planning, and always set your KPIs in alignment with your marketing and business KPIs. Influencers are media channels and their secret weapon is their own content delivered to their own audience in their own style.

is the Social Media Lead

Anthony Nghayoui is the Social Media Lead at OMG MENA

Founded: 2014

Parent company: Hashtag Social Media Agency

Regional head: Amer Massimi

KEY CLIENTS: Carrefour, Activia, Airalo, Hyundai and Bioderma

DO YOU MANAGE TALENT?

Yes

DO YOU FOCUS ON SPECIFIC SECTORS?

No, we work across sectors from beauty & fashion to retail & FMCG.

WHAT’S YOUR BEST PIECE OF ADVICE FOR BRANDS LOOKING FOR SOCIAL MEDIA INFLUENCERS?

Choosing an influencer that aligns with your brand & its objectives is crucial as well as giving influencers some creative freedom to do what they do best.

CAN YOU NAME A RECENT CAMPAIGN INVOLVING SOCIAL MEDIA INFLUENCERS YOU ARE PROUD OF?

Hyundai #MoreForLess CSR Campaign

HOW DO YOU MEASURE THE IMPACT OF A CAMPAIGN?

Depends on the objective of the campaign but usually metrics such as reach, impressions, views, engagement and sentiment.

Influencer Marketing

CARREFOUR INFLUENCER MARKETING CAMPAIGN

Carrefour, the leading retail chain, aimed to boost brand awareness and drive traffic to their stores through an influencer marketing campaign. With a focus on engaging a wider audience and showcasing their diverse product offerings, Carrefour sought to collaborate with influencers across various niches. The objective was to leverage the influencers’ reach and credibility to promote Carrefour’s brand message and encourage consumer engagement.

To achieve these objectives, a comprehensive influencer marketing strategy was advised: Influencer Selection: A thorough selection process was undertaken to identify 15 influencers with diverse audiences and high engagement rates. Influencers from lifestyle,

food, parenting, beauty, and fitness niches were chosen to ensure broad coverage and relevance to Carrefour’s target demographic.

Campaign Concept: The campaign centered around the theme of ‘Everyday Convenience at Carrefour’. Influencers were tasked with creating engaging content showcasing their shopping experiences at Carrefour stores, highlighting the convenience, variety, and quality of products available.

Content Creation: Influencers had creative freedom to develop content that resonated with their audience while incorporating key messaging about Carrefour’s value proposition. This included in-store vlogs, recipe tutorials featuring Carrefour products, hauls, and lifestyle shots in everyday scenarios.

Engagement Activation: To drive audience

engagement and participation, influencers encouraged their followers to interact with Carrefour’s social media channels, participate in contests, and share their own Carrefour shopping experiences using campaign-specific hashtags.

The Carrefour influencer marketing campaign yielded impressive results:

Total Views: The collective content generated by the 15 influencers was a total of 4,548,175 views across various platforms.

Increased Brand Awareness: The campaign succeeded in raising awareness of Carrefour’s brand and offerings among the target audience, resulting in increased foot traffic to stores.

Positive Brand Perception: Influencer-generated content portrayed Carrefour as a convenient and trusted shopping destination, fostering positive brand perception among consumers.

Community Engagement: The campaign encouraged active participation from consumers, who shared their own Carrefour experiences, recipes, and shopping hauls, further amplifying the campaign’s reach and impact.

Overall, the influencer marketing campaign proved to be a highly effective strategy for Carrefour, driving both brand awareness and consumer engagement while showcasing the convenience and value offered by Carrefour stores.

HYUNDAI ‘PLANT A TREE’ INFLUENCER MARKETING CAMPAIGN

Hyundai, a leading automotive manufacturer, embarked on a mission to combat climate change and reduce carbon emissions through their ‘Plant a tree’ initiative.

Hyundai’s objective was twofold: to promote their eco-friendly initiatives and increase brand engagement among environmentally conscious consumers, by partnering with influencers who shared their values and had a substantial online presence.

Influencer Selection: We carefully selected influencers known for their advocacy of environmental causes and engaged audiences interested in sustainability. Influencers from environmental, lifestyle, travel, and outdoor adventure niches were chosen based on their credibility and ability to resonate with Hyundai’s target demographic.

Campaign Concept: The ‘Plant a tree’ campaign emphasized the simplicity and impact of taking action to combat climate change. Influencers were tasked with creating content that educated their followers about Hyundai’s reforestation initiative and encouraged them to participate by engaging with Hyundai’s social media posts.

Content Creation: Influencers had creative freedom to develop content that aligned with their personal brand while conveying Hyundai’s environmental message. Content formats included educational posts, inspiring videos, and visually captivating images showcasing the beauty of nature and the importance of reforestation. Influencers also documented

their own tree-planting experiences.

Engagement Activation: To drive audience engagement and participation, Hyundai incentivized influencers to host interactive challenges, quizzes and giveaways related to environmental conservation. Influencers encouraged their followers to like, share and comment on Hyundai’s social media posts to contribute to tree-planting efforts. Hyundai also pledged to match each engagement with a tree planted, maximizing the campaign’s impact.

RESULT:

Total Views: The content generated amassed a total of 5,130,590 views across platforms.

Environmental Awareness: It successfully raised awareness about Hyundai’s ‘Plant a tree’ initiative and the importance of reforestation in combating climate change while driving action.

Engagement and Participation: It sparked

widespread engagement and participation from audiences, with high levels of likes, shares, and comments on Hyundai’s social media posts.

Positive Brand Perception: Hyundai was perceived as a socially responsible and environmentally conscious brand, earning praise for their efforts to mitigate carbon emissions and contribute to reforestation efforts. Impact: The campaign’s call to action resulted in a significant number of trees planted, contributing to Hyundai’s overall reforestation goals and making a tangible difference in the fight against climate change.

Overall, the Hyundai ‘Plant a tree’ influencer marketing campaign demonstrated the power of collective action in addressing environmental challenges, effectively leveraging influencer partnerships to drive engagement, raise awareness and inspire positive change.

Founded: 2015

Regional head: Karl Mapstone vamp.com

hello@vamp.me

Vamp is an award-winning influencer marketing platform. We connect global brands like Adobe, Estée Lauder, GAP, Nestlé and Volkswagen to a ve ed community of creators, to drive brand awareness, consumer engagement, and purchase consideration through social platforms.

AWARDS WON: Best Influencer Marketing Platform or Technology AiMCO Awards (2021, 2022 & 2023)

DO YOU MANAGE TALENT?

No - we have a pre-ve ed pool of 75k+ global creators which can be accessed via the Vamp platform as part of a managed or self-serve campaign process.

DO YOU FOCUS ON SPECIFIC SECTORS?:

All sectors

WHAT’S YOUR BEST PIECE OF ADVICE FOR BRANDS LOOKING FOR SOCIAL MEDIA INFLUENCERS?

Look for creators with a genuine affinity for your brand. Search for more than just number of followers and engagement rates. Look for professionalism, aligned morals, innovative content styles, and beautiful and engaging content execution. The best creator-brand relationships are built over long periods of time. Give yourself the best chance of doing this by being picky with who you collaborate with on a deeper level than metrics.

CAN YOU NAME A RECENT CAMPAIGN INVOLVING SOCIAL MEDIA INFLUENCERS YOU ARE PROUD OF?

Two recent campaigns with our clients drove 10.9 and 9.3 ROAS respectively. One was within the beauty industry, and the other within sports retail. Both campaigns used a mixture of influencers - from nano to mega - and both used a variety of content creator styles. This led to a diverse mix of creatives, of which the best performing organic posts were then used across paid social. This winning formula of high performing organic content being used as paid ads led to the impressive ROI mentioned above.

HOW DO YOU MEASURE THE IMPACT OF A CAMPAIGN?

Think about it holistically. Before you even brief your campaign, set out clear goals and outcomes you want to achieve. When doing this, think about the campaign’s purpose. Are you looking to drive awareness, engagement, conversions or repeat customers? Be specific. Then, create a detailed measurement framework. Which business goals is the campaign supporting? What are going to be the individual metrics you’ll use to systematically identify where the campaign fell short, if you don’t hit those goals? For example, will you assess reach, engagement, traffic, and conversions? By doing this, you can see where your wins and failures were, to take actionable learnings into your next campaign.

M&S MENA wanted to boost their NLP collection sales through authentic, engaging influencer content. Showcasing the range’s quality, value, and unique innovations via Instagram.

Approach

Vamp partnered M&S MENA with Micro, Mid, & Macro lifestyle Instagram influencers, creating organic content around the NLP collection. By allowing the creators creative freedom, they were delivered highly engaging & native social assets. Boosted content resulted in 4.5x ROAS, surpassing the industry average.

In the ever-evolving landscape of influencer marketing, several critiques have emerged, creating doubt on its efficacy and integrity. How influential? To what level of expert influence? And are those ‘influencers’ even real?

In light of influencer marketing rapidly becoming an integral part of the marketing mix – 77 per cent of marketers are treating the sector as a top priority - these challenges must be acknowledged and addressed with an alternative solution that underscores the complexity and potential of influencer marketing, while integrating the critical role of content creators in fostering genuine connections between brands and their audiences.

UNDERSTANDING YOUR AUDIENCE: THE MENA ADVANTAGE

The MENA region hosts a very distinctive cultural landscape; understanding nuances is key to successful influencer marketing.

Delving into the cultural specificities of the region, especially the UAE and KSA, is critical for crafting influencer selection and strategies.

Understanding subtleties and leveraging the cultural knowledge of content creator based in the MENA region puts brands in a powerful position to deliver campaigns that resonate on a deeper level.

CONTENT CREATORS: BEYOND LIKES AND FOLLOWERS

Identifying a relevant content niche is crucial in content creator collaborations. But it’s equally important to prioritise individuals who transcend mere participation; those who are passionate advocates within their niche and genuine experts who are building authentic relationships with their audience that drive meaningful engagement. These experts could be microinfluencers, boasting smaller but highly engaged communities. Their active and committed followers result in more authentic recommendations, reflecting a shift towards prioritising genuine audience interaction over raw follower counts. This trend underscores the growing significance of depth and quality in engaging audiences.

AUTHENTIC CONTENT WINS: A SYNERGY OF ORGANIC AND PAID

Blending organic content with paid advertisements in dynamic digital marketing isn’t just a savvy strategy; it’s revolutionary. Take for example Kanye West’s Super Bowl campaign, where the fusion of authentic,

‘‘Creators have honed their skills to deliver content that truly engages and resonates”

organic content shines through. The result? A refreshingly bold ad, shot on a phone, that exudes the raw power of organic content display.

Similarly the recent Subway UAE National Day campaign, which capitalised on connected capabilities, both organically and through a paid content strategy. The campaign’s impact was multiplied by strategically placing paid promotions on TikTok. The successful integration of authenticity and

widespread reach illustrates the power of a balanced approach that leverages the strengths of both organic and paid media.

EXPRESSION EVOLUTION: ADAPTING TO YOUR AUDIENCE

The landscape of content creation has evolved rapidly from the era of individual creators and their organic growth. Today, we witness creators transforming their profiles into fully-fledged brands, supported by specialised teams that assist in various aspects of content creation and strategic partnerships.

This shift underscores the increasing significance of influencer marketing within the broader marketing landscape, highlighting its evolution and the professional approach it now demands. Much like the film and music industries, which reinvent themselves through remakes and draws inspiration from past eras, social content must also remain agile to adapt to evolving audience tastes.

The methods of engagement are continually evolving, as seen in the recent transition from long-form content to shorter formats like YouTube Shorts,

BEYOND THE HYPE

MCN’s Rami Gholmieh explains the need to cultivate authentic connections in the MENA influencer landscape

Instagram Reels and Stories. Content creators play a pivotal role in driving this change, possessing a deep understanding of their audience’s shifting preferences. With attention spans dwindling, creators have honed their skills to deliver content that truly engages and resonates with their followers, ensuring that brand messages remain relevant, fresh and engaging. In the MENA influencer landscape, prioritising cultural understanding is business-critical, necessitating brands to establish authentic relationships with influencers and execute strategies that blend both organic and paid approaches.

Authentic stories go beyond mere facts; they have the power to forge genuine connections with audiences, compelling them to fully engage and remain loyal to a brand for the long term.

By Rami Gholmieh, Regional Director of Influencer Marketing at MCN

NEXT ERA GAMING

GroupM MENA’s Youssef Raad explains the exciting world of moment marketing

Brands no longer see gaming as a one-time opportunity but as a major component of their marketing strategies. This should not come as a shock, as the gaming industry is offering a completely different canvas than the usual advertising solutions we see in the digital and virtual marketing space. This can be done through gamified ads, mobile games, streaming platforms, instream overlays, metaverse activations, brand collaborations, and partnerships with gaming publishers and developers.

Let’s look at the numbers: the gaming world’s revenue growth over the past few years has been profound, with in-game advertising growing from a mere $210M in 2017 to $450M in 2023 and on track to hit $1 billion in 2029. There are 160 million gamers in the MENA region today and growing, and with such expected growth, we are already seeing governments in the UAE and KSA jumping at the chance to invest and develop in the interactive entertainment sector.

Gaming is now offering the next big innovational step in the marketing world that only social media has provided marketers in

‘‘We cater to our client’s appetite for innovation and staying ahead of the latest trends”

the past. As a result, we are in the midst of the most significant multigenerational shift in communications history. We say multigenerational because people often make the mistake of thinking it’s ‘just Gen Z’ or ‘just males’ who have different media consumption habits (especially in gaming) to previous generations when in actual fact, it’s everyone.

Gaming encompasses people of all demographics. Its prominence has reached such heights that a pivotal shift has taken place: where once popular culture influenced games, now games hold sway over popular culture. Our beloved characters are no longer confined to the realms of movies and books; they emerge prominently from the world of gaming. This paradigm shift has already unfolded, and brands that embrace this new communications economy are poised to reap substantial rewards.

In-game moments

Marketers can tap into many unique characteristics that make up in-game advertising. For me, one of the most exciting characteristics is moment marketing. With real-time tracking of in-game moments, audio recognition and the implementation of AI to tap into crucial moments during gameplay, gaming now offers brands the ability to highlight their products at the most appropriate time to any of their chosen gaming audiences. For instance, real-time tracking enables advertisers to monitor in-game triggers. For example, if a gamer’s character is low on life, an ad for an energy drink could show in-game; audio recognition provides audio cues to identify ad opportunities, and AI is continuously perfecting and learning from player interactions.

Another major growth aspect of gaming is the ever-expanding virtual events, competitions, and concerts. In December last year, Fortnite launched its latest virtual concert, Big Bang, featuring Eminem, following previous concerts with Marshmello and Travis. Such innovation is second to none when it comes to the creativity and excitement, they bring to gaming fans. Gaming is now bringing to the table more imaginative ways to hold these types of events through the unlimited diversity of the metaverse. More artists, brands and e-sports fanatics are jumping at the chance to be part of these vast occurrences.

At GroupM, we cater to our client’s appetite for innovation and staying ahead of the latest trends. In 2023, we created a full-fledged gaming campaign for our Wavemaker MENA’s client Mentos through a localised bespoke challenge for gamers to compete against one another through the brand message ‘Yes to Twitch’. The challenge encouraged users to use the hashtag #MentosYestoFresh on chat, and users won free in-game accessories and money. By tying up with gaming streamers in the UAE and Saudi Arabia, we achieved 1 million unique views while reaching 1.3 million users, driving over 50,000 brand mentions. This campaign put Mentos on the gaming map within MENA and created excitement to push further experimentation in the gaming sphere, with a 2.0 version already in the works.

It’s time for brands to grab the controller and meet their consumers in the gaming arena. We are ready to push the boundaries and disrupt the playground, to play and win.

By Youssef Raad, Gaming Lead at GroupM MENA

PIXELS POWERING BRANDS

Landor’s Benjamin Fujita-Summers explores the connection between gaming and brand in experience design

Afew of us in the industry can still remember a time when your visualiser would be reaching for the watercolours, not a keyboard. Visualisation was purely an exercise in the pursuit of beauty to gain emotional buy in – it was a ‘final deliverable’. With the development of photorealistic rendering, this process has ascended to a boss fight level of fanatical visual accuracy, best critiqued by one of my mentors as “you’re just rendering the sugar into the tea now”. However, when Epic Games (the company behind the Unreal gaming engine) acquired  emerging archviz software Twinmotion in 2019, it announced a welcome shift from accuracy at all costs towards immersion and interaction – a trend we are seeing overwhelmingly across the tech spectrum.

We’re now witnessing gaming experiences and gaming development becoming more intuitive - this evolution in simplifying the learning process makes creating game type experiences more accessible than ever before. I feel this shift is crucial for three reasons.

A STREAMLINED VISUALISATION WORKFLOW

Firstly, the visualisation workflow has been significantly shortened. This efficiency means more time can be dedicated to design, reducing the hours spent agonising over production of final visual output. Real-time ray tracing (a now critical feature to achieve realism in gaming) is quickly decimating the hours lost to rendering downtime in favour of live navigable models. Artificial Intelligence (AI) also plays a role here, opening up possibilities for production without years of software training. I particularly welcome the ‘sketch to render’ AI processes – reliance on traditional visualisation software has produced a generation of designers that

can’t sketch – a skill which to this day remains the most powerful design tool of them all.

BROADENING THE DESIGN SPECTRUM

Secondly, and arguably more interestingly, we can now create experiential simulations across a wider band of the design spectrum. This includes the testing phase with gaming type experiences allowing us to design for testing in a more iterative, meaningful way than ever before. At Landor, we apply immersive simulation tests to validate our designs – facilitating

‘‘Some developments are leaping forward, while others are on a longer cycle”

the decision making process and relieving the burden of personal preference. This allows for testing consumer mindstates across different types: those receptive to inspiration and suggestion, those seeking options and information to inform their decisions and those navigationally driven, but would ideally tempt back into the inspiration mindstate. We can react, adapt, and refine based on real-time

feedback, enhancing predictability of outcomes and allowing for pre-release refinements based on testing results.

METASPACES: THE FUTURE OF BRAND EXPERIENCES?

Finally, let’s travel all the way back to 2021, before AI dominated all design commentary and speculation. Remember the hype around Metaspaces? While the hype hasn’t yet fully translated into the fluid experiences promised, this application of gaming tech is promising in how it can overcome the geographical and temporal limitations of in-store experiences, and attract and engage fresh audiences in a creative playground that serves both brand stories and products. Gaming’s increasing intuitiveness and immersive capabilities, combined with the increased tech adoption from the Covid lockdowns, are paving the way for truly meaningful metaspaces. Fashion brand have led the way here with metaexperiences for brands such as Valentino and Marc Jacobs being followed by more mainstream brands as H&M and Glossier. For me, the excitement lies in the potential for accessibility, personalisation, sustainability, and as a designer - quite frankly - the invigourating ability to bypass the laws of physics.

According to a report by Newzoo, the global games market expected to generate revenues of $189 billion in 2024, indicating the massive influence and reach of this industry. As gaming technology continues to evolve, it’s increasingly set to redefine how brands create their experiences. The implications of gaming technology on the world of brand experience are both immediate and longterm. Some developments are leaping forward, while others are on a longer cycle to reach maturity. But the message is clear: “Watch this space, great things are happening.”

By Benjamin Fujita-Summers, Executive Director for Brand Experience at Landor

Founded: 2022

Parent company: LPS Brands

Regional head: Aasim Shaikh streamshreek.com

+971 56 928 0670 nikhil@lps-me.com

StreamShreek is MENA’s first proprietary tech redefining the digital ad space within the gaming and streaming industry across the region. Our unique platform connects over 1,000 game streamers with brands, creating a seamless bridge to an engaged and diverse audience. We are reimagining how brands engage with gaming audiences. We provide brands with a competitive edge, achieving higher engagement and conversion rates at a fraction of the cost of conventional platforms.

TECH PARTNERS: StreamCoi

KEY CLIENTS: Perfetti, Dubai Chambers, IFFCO Group (London Dairy, Quanta, Igloo)

WHAT IS YOUR ROLE IN CONNECTING BRANDS WITH GAMING?

We connect brands with the gaming community which is an untapped market. At StreamShreek, we bring the gaming

audience to one platform. Through our innovative platform, we seamlessly integrate brand assets into live game streams on Twitch and YouTube Gaming, ensuring maximum visibility and interaction. Our approach goes beyond mere placements; we craft immersive, interactive advertising experiences that capture attention and drive conversions, offering brands a unique channel to connect with the gaming community and achieve their marketing objectives.

DO YOU FOCUS ON SPECIFIC SECTORS OF BRANDS OR GAMES?

We cater to a broad spectrum of brands and games to maximise reach and engagement. Our platform is designed to support campaigns across various sectors—from tech, lifestyle to entertainment and beyond. We encompass a wide range of games, ensuring that brands can connect with their target audience in the most relevant context. This flexibility allows us to tailor campaigns that resonate with specific viewer interests and behaviours.

WHAT’S YOUR BEST PIECE OF ADVICE FOR BRANDS LOOKING TO STEP INTO GAMING?

Dive into the gaming world with authenticity and understanding. The community values genuine engagement and content that resonates with their interests. Thoroughly research the gaming culture and audience demographics to tailor your message. Collaborate with experienced streamers who embody your brand’s values and can introduce your products or services in a context that feels natural to their viewers. Or, just come talk to us.

CAN YOU NAME A RECENT CAMPAIGN THAT INTEGRATED GAMING THAT YOU ARE PROUD OF?

A recent one was our collaboration with Dubai Chambers, where we seamlessly integrated gaming with a government-driven initiative. The campaign showcased our ability to create authentic and engaging content and leveraged our platform to capture the gaming audience’s attention.

BRANDS SHOULD BE

INSPIRED BY MODERN VIDEOGAME TV ADAPTIONS

Avid gamer and Serviceplan Group Middle East’s Helmi Abdalhadi offers some tips for brands

Ifirst played The Last of Us in 2013. Even though it did not necessarily innovate character development and storytelling in video games, the title was a watershed moment in the video game industry that shows how far these elements – among others – can go. Advertisers love gaming audiences; they consistently exclaim at their high engagement rates in both active playing and content consumption.

Considering the captivating story elements present in gaming, it’s easy to see why these metrics are very high among gamers. You are role-playing and actively participating in the story unfolding before your eyes. Most of us consume visual and/or audio content while half-staring at our phones or finishing a chore. This is impossible while gaming.

Stories and lore in video games are not always high quality. But when they are, they are incredibly moving due to your engagement in the progress of the story. As a result, successful gaming titles are frequently picked up for TV or movie adaptations. They have been historically…. lacklustre.

Networks and showrunners have consistently disregarded the source material – a frustrating move that does not resonate well for nongamers either, with book adaptations usually feeling flatter than their original material.

During the past few years, we’ve seen video-game adaptations turn a corner, introducing fans to new mediums to enjoy their favourite content – a lesson I believe brands can learn, especially from an industry competing to reach the same audience. One example of a series that wobbles around fan-acceptance lines is the Witcher.

The award-winning Witcher games – faithfully developed by Polish developer CD Projekt Red – are based on books of the same name by Polish author Andrzej Sapkowski. Fan favourite Henry Cavill (a gamer and fan of the source material himself)

stars in the Netflix series. The series strayed away from the source material in certain aspects but stayed true to major plot points and fan sentiments. Despite decent ratings and reception, Cavill is set to leave the show due to creative differences about how the source material is portrayed – a move that has not gone down well with the audience.

A show that has not walked that line is Arcane - an animated series based on Riot Games’ League of Legends. Even as a gamer myself, I still had some hesitation in choosing to spend time consuming this series over other content or even gaming.

‘‘Gaming audiences are massive, and entering their world as a brand can be unknown and scary”

Riot, the developer and publisher of the IP that Arcane originates from, put immense care and effort with writing, storytelling and animation to bring Arcane to life. It is a sublime show, and as we are discussing how audiences react when projects - or brands - stay genuine to the communities that they are reaching, Arcane still holds 96 per cent positive audience reviews on Rotten Tomatoes. It has blown away its objective of attracting audiences to the brand it comes from.

However, the show that truly inspired this comparison to brands and genuine gaming connections is currently filming its second season. I first played The Last of Us in 2013. While only the first season

has been released at the time of writing, gamers and non-gamers alike have marveled at this adaptation’s excellence. The Last of Us has so far achieved a perfect balance of staying 1:1 with the game cinematography, dialogue and writing while also straying away from the game to build an even more compelling world.

The lesson here for me is clear, and it is one we have been preaching for almost three years now at House of Gaming. Gaming audiences are massive, and entering their world as a brand can be unknown and scary. Stay true to the world of gaming as you embrace it but be genuine with your own take on it – a take that is also authentic to your brand values and personality.

We can take inspiration from Craig Mazin (who also created Chernobyl – my favourite all time show) and his take on improving a masterpiece such as The Last of Us.

By Helmi Abdalhadi, House of Gaming Director at Serviceplan Group Middle East , House of Gaming Director at Serviceplan Group Middle East

Founded: 2022

Regional head: Nabil Moutran www.division.ae

+971 4 566 8369; +971 58 180 6500  dan.moore@division.ae

Connecting brands with gamers

KEY CLIENTS: L’Oreal, Mentos, Mastercard, Rimmel, Apple, Blast, Sephora, Unilever.

WHAT IS YOUR ROLE IN CONNECTING BRANDS WITH GAMING?

DIVISION is the go-to expert for facilitating connections between brands and the expansive gaming community. We put together engaging campaigns, ensuring brands find ideal opportunities to captivate younger audiences effectively. Our comprehensive solutions extend to in-game branding within mobile games and the creation of custom maps, such as Fortnite

custom islands, offering innovative avenues for brand integration within gaming environments.

DO YOU FOCUS ON SPECIFIC SECTORS OF BRANDS OR GAMES?

At DIVISION, our focus spans across various sectors, catering to the diverse interests of both brands and gamers alike. From technology giants to beauty industry leaders, automotive innovators to consumer goods, we offer tailored solutions that align with the unique needs and preferences of our clients. It is important to keep in mind that gamers have a life outside of their gaming. They drive cars, they eat food and they use body care products.

WHAT’S YOUR BEST PIECE OF ADVICE FOR BRANDS LOOKING TO STEP INTO GAMING?

Our top advice for brands venturing into gaming is to embrace authenticity. Gamers value genuine interactions over scripted content. By allowing for unscripted campaigns, brands can resonate more with their target audience, building trust and loyalty.

CAN YOU NAME A RECENT CAMPAIGN THAT INTEGRATED GAMING THAT YOU ARE PROUD OF?

Our recent collaboration with Rimmel was a game-changer! We entered the beauty sector with a bang, creating authentic connections between the brand and gamers. Surpassing our goals, we seamlessly integrated Rimmel into gaming content, with content creators coming up with their own creative ways to blend the brand into their gaming universe. This innovative approach not only exceeded our expectations but also set a new standard for brand engagement in the gaming world. It was an exciting journey that showcased the endless potential of merging gaming and branding.

Founded: 2021

Parent company: Serviceplan Group Middle East Regional head: Helmi Abdalhadi house-of-communication.com/int/en.html

+97158 565 3432

serviceplan-dubai@house-of-communication.com

Serviceplan Group Middle East, a market leader in the development and realisation of integrated communication concepts across all channels and platforms, has launched the ‘House of Gaming’ division in 2021, created to harness the vast potential of Gaming & Esports Marketing for its clients in the MENA region, and beyond.

The House of Gaming division has been established to provide businesses and brands with in-depth knowledge across all aspects of gaming, from different gamer target groups to showcasing and assessing all relevant touchpoints. It guarantees expert-level guidance on developing a brand’s positioning and communication strategy in gaming and Esports and manage the seamless execution of its end-to-end Esports Marketing efforts.

Since its launch in 2021, the gaming division of Serviceplan Group has experienced remarkable growth. It operates as an integral part of the “House of Communication” offering, ensuring seamless integration with all relevant divisions to ensure comprehensive success for all industries, brands and relevant target audiences.

KEY CLIENTS: Abdul Latif Jameel Motors, UAE Cybersecurity Council, Kaspersky Middle East, Lenovo Middle East, Razer

Karim Mroueh Digital and Social Strategy Lead

Helmi Abdalhadi House of Gaming Director

Frances Bonifacio Head of Strategy

LEADERSHIP PANEL

TARIQ AL SHARABI

MATTER OF FACT News, views & trends from across the spectrum

TIPPING

The looming TikTok ban in the United States signals a shakeup in the digital content landscape, with global content patterns, especially within the GCC, potentially experiencing significant shifts. With content creators likely to migrate to alternative platforms as a result, the unique ‘TikTok feel’ of content might disperse, leading to varied content styles and delivery methods.

This transition poses intriguing questions about the future of content consumption and creation. While immediate changes might not be drastic, the ripple e ects over time could lead to substantial deviations in how content is presented and consumed across other platforms. While our favorite short form content isn't going away any time soon, content creators will need to shift their approaches over time to meet the changing landscape. The question is: how fast will they adapt?

2.5 million Distribution

10.73 million

40% female, 60% male AD TikTok

GAME CHANGER

Devin Decodes

BREAKING THE NET Meme Wars User

Communication agencies, rejoice: the era of in-house developed algorithmic tools tailored specifically to your clients' needs might be just around the corner. The recently unveiled Devon is capable of performing advanced coding tasks with minimal supervision, enabling faster development cycles and significantly reducing timelines.

95 minute

#NOT

Too-Good-to-Be-True Car Deals

Naadam’s Instagram campaign humorously targeted competitor Quince with memes, diverging from its usual aesthetic. This zero-budget campaign aimed purely for entertainment showcased a light-hearted approach to competitive advertising and highlighted the need to sometimes shift towards fun, engaging content over traditional marketing strategies.

A Chevrolet dealership’s AI chatbot became the star of a humorous debacle, getting tricked into o ering online customers cars for nearly nothing. After a user found out that the bot was powered by ChatGPT, the internet did its thing, spending hours attempting to break its logic. This amusing incident underscores the pitfalls of AI in customer service and the unpredictable nature of chatbots when faced with creative user exploits.

UP YOUR

MARKETING GAME

How do you reach gamers in this booming gaming landscape, asks Heinz’s Passant El-Ghannam

On the padel court…under the merciless sun…deep in the deciding set, the tension is thick enough to slice. Adrenaline courses through your veins as you face match point. Your opponent lines up for a powerful smash, you lunge for a backhand volley, as you eagerly watch if your opponent will be able to deflect the wicked ball that just kissed the walls and landed away from his reach; a screen drops out of the sky forcing you to watch an advertisement!

Bam! What a frustration?! Right?!

This is exactly what gamers feel when brands interrupt them. Gamers don’t just play to pass time – they live, talk and breathe the game.

Disrupt this and you risk disrupting the precious relationship with a captive audience. And, with more than 2.7 billion gamers worldwide, this is certainly an audience worth engaging.

The gaming industry is not just a niche market anymore; it’s a thriving ecosystem that demands attention from savvy marketers.

So, how can we engage this audience authentically?

Become part of the game: In-game advertising is a great way to integrate your brand into the gaming experience –Think product placements, sponsored content, or even interactive elements; but it’s got to be done seamlessly, embedded almost magically into the world players inhabit.

‘‘Brands can consider taking a step into this world by sponsoring major tournaments”

A great example is Heinz ‘Hidden Spots’, a campaign created to live within Call of Duty. Built on the insight that true gamers don’t pause the fast-paced game to eat (at risk of ‘dying’ in the game), Heinz collaborated with top gaming influencers to help them ‘snack safely’ within the game, delivering burgers wrapped in maps marked with hidden safe zones that allowed them to pause and eat. Influencers continued to mark hidden spots for others, creating a ripple effect that led to more than 150 hidden spots in four different games like PUBG, Counter Strike and Fortnite. The result? more than 4,800 minutes streamed, 220 million-plus earned media impressions…and thousands of greasy joysticks!

Create engaging content: Gamers are a discerning audience who value authenticity and creativity. Brands need to create meaningful content that is entertaining, valuable, and – above all – relevant to gamers’ interests. This was the approach we took at Heinz when trying to engage a younger

audience on the not-so-shiny topic of soil degradation – something we knew Gen Z cared about and wanted more information on. We partnered with esports experts, Druid Gaming, to create a one-of-a-kind island on Fortnite inspired by our tomato growers’ farms. Called ‘S.O.S. Tomatoes’, the map was designed to shrink 33 per cent faster than a ‘typical’ map in Fortnite Battle Royale, shining a light on the rapid rate healthy soil is declining in the real world. Players were challenged with outrunning the map to ultimately save more soil. We translated this into impact in the real world by committing to protect more soil outside of the game.

Embrace the culture – and community – with open arms: Gaming is a vibrant culture with a shared language, norms and communities. The gaming landscape has undergone a seismic shift. Gone are the days of basementdwelling stereotypes. Today’s gamers encompass a diverse range of ages, genders and backgrounds. They’re doctors, lawyers, students, professionals – all united by their passion. This passion fosters a sense of community, making them highly receptive to brands that understand and appreciate their world. To resonate with gamers, brands must immerse themselves fully into this world and adopt the things (the language, the norms) that make it unique. It’s more than just understanding gaming trends and staying up-to-date with the latest releases, it’s listening to gaming communities on social media, attending in-person events and understanding what makes this world so special. At Heinz, we stay connected through close relationships with esports stars and gaming influencers. We partner with them authentically, cocreating meaningful content that fits into their world, while bringing our brands to this deeply connected audience. Brands can consider taking a step into this world by sponsoring major tournaments, listening to gamers, participating in conversations, and supporting initiatives that help build trust and credibility within the gaming community.

Approaching the gaming world with respect, authenticity, and a true desire to add value and relevance (and of course, a little entertainment) will help unlock an amazingly passionate, connected and engaged audience that – if you ‘play’ it right – will help grow and evolve alongside your brands far beyond the virtual realm.

So, put on your virtual headset, grab your controller, and get ready to level up your marketing strategy.

By Passant El-Ghannam, Marketing Director MEA at KraftHeinz

Photograph by Greg Newington

Painting by Almudena Angoso

LEVELING UP YOUR BRAND IN GAMING

UM MENAT’s James Dutton says gamers love brands that come up with fun ways of reaching them

Any article about gaming is going to contain big numbers. And the numbers are staggering. But many of these numbers still take some people, even in our industry, by surprise. While cultural conversations focused on the staggering box office of Barbie last year ($1.5 billion) it barely touches the $8.5 billion that Grand Theft Auto V has grossed, but we’re not hearing much in the media about the scale of the gaming industry.

Gaming isn’t the next big thing. This isn’t the year of gaming. That time has long since passed. Here in MENA, we have 14 per cent of the global gaming

‘‘Anything that redirects gamers out of gameplay is a red fl ag”

population playing and forecasts suggest the industry’s value to almost double by 2028 to $9.6 billion. This growth is fuelled by substantial investments from countries like the UAE and KSA, both injecting funds into local gaming developers and building world-class e-sports arenas. MENA is poised to emerge as a gaming epicentre in the near future.

But despite all these numbers and the potential they represent, many brands have not yet started playing or have only taken some baby steps. We talk a lot about attention, and where eyeballs are going, but it feels like gaming is often still a blindspot for brands.

Brands have similar challenges, whether it’s a lack of understanding or misinformation, when discussing their gaming strategy. These are really three areas for brands to consider:

FINDING YOUR REASON TO PLAY

One of the biggest questions is why gaming? Many brands view gaming as just another marketing channel to achieve specific objectives. However, it’s essential to shift our perspective and understand what gaming means to players. We talk much about gamification, but this often unintentionally commodifies powerful human insight around why people are playing in the first place.

like. Data reveals that gaming is now the dominant media for Gen Z at 25 per cent vs Millennials at 21 per cent. Yet media plans aren’t reflecting this split. With Gen Alpha growing up quickly, what slice of attention will gaming represent to them? And what happens if your brand isn’t there?

Brands that take the time to truly understand this audience are currently leading the pack. One example is Neutrogena, which recognised the untapped potential of the gaming community. Their ‘Skincare for Gamers’ campaign partnered with influential female gamers creating exceptional engagement rates demonstrating the power of understanding and embracing gaming culture to reach new and diverse audiences effectively.

NAVIGATING THE CHOICE

Thousands of games, hundreds of genres, and multiple ways to engage with titles and players is a challenge. While it does require an audit to identify the right fit –there are guiding principles to consider when making decisions:

Maintain authenticity – Ensure your brand seamlessly integrates into the gaming environment and aligns with the dynamics of play. UNESCO’s collaboration with Minecraft to rebuild war-torn monuments exemplifies this approach, offering cultural education while staying true to the specific experience that Minecraft fans expect.

Successful brands are those that align gaming with their identity and consumer behaviours, leveraging it to enhance or introduce new dynamics. For example, Burberry’s foray into the Minecraft universe resonated with their commitment to self-expression, providing a platform for their young fans to express themselves authentically in a digital space.

MYTHBUSTING AUDIENCES

As gaming continues to scale, we hope that the stereotypical image of a teenage boy gamer is long gone. With 42 per cent of the global population now classified as gamers, the gaming demographic is more diverse than ever before. In MENA it’s expected there will soon be more female than male gamers, nowhere else in the world is this happening.

Despite these shifts, misconceptions about gaming persist, particularly regarding audiences. Brands need to be curious as to what the gamer really looks

Don’t distract – Anything that redirects gamers out of gameplay is a red flag. Gamers do not want to be distracted by objects or activations that are not related to the game they are playing. There are too many examples of brands interrupting gameplay and falling foul of gamers ire.   Add Value – Gamers love brands that come up with fun and innovative ways of reaching them, particularly when it enhances the experience and enjoyment of their sessions. Oreo’s partnership with Xbox to create Cheat Cookies capitalised on gamers’ love for cheat codes by offering a physical product that unlocked special features in popular game franchises like Halo and Sea of Thieves.

Brands that are staying true to these principles are the ones currently winning and establishing themselves with generations of gamers to come.

By James Dutton, Chief Product Officer, UM MENAT

Zayed International Airport’s recent launch event combined drone visuals of its new Terminal A on mega-screens, drone-powered orbs and butterflies wafting through its lofty interior, and a breathtaking celestial falcon comprised of 1,750 show drones that morphed into a spectral A380 over the new terminal’s runway.

Helmed by People, familiar to Abu Dhabi denizens as curators of the National Day Celebrations, the event inaugurated the airport’s new identity and expanded capacity.

Observers of the launch noted the seamless deployment of ‘small aviation’ to punctuate a massive milestone in ‘big aviation’.

WHEN THE SKY IS YOUR CANVAS

What better showcase of emergent drone technologies than the opening of a new airport terminal?

With the number of drone companies ever increasing, survival means keeping on the cutting edge – and the drone edge is ever evolving. ‘Classic’ aerial cinematography was maturing into a common visual language when a new edge was cut by mounting gimbals on first person view (FPV) heavylifters to grab the best of both worlds.

While specialisation is key to innovation, diversification in the drone industry’s various branches enables both stability and cross-pollination with other evolving tech.

“We took a fresh new look at aviation to align with the new era for the airport and Abu Dhabi,” said Rachel Sweeney, Project Director at People. “Rather than filming the swarm drones as they morphed from a falcon into an A380 from the ground, we created an almost immersive film by effectively ‘gamifying’ the filming.

“Piloted drone cameras flew through the formations which allowed our viewers to experience the show from a new perspective. This filming technique drew an incredibly positive response from the aviation audience – a key target group as part of the campaign.”

Filmmaster MEA provided the drone-powered activations in the atrium via Airstage, and aerial filming of the airport’s formidable architecture and interiors via Motivate x Surface Aerials.

“We knew that in order to capture the architectural beauty, the daily operations and workings of the airport and the runway, it had to be through an aerial aspect,” said Filmmaster producer Faiza Abubaker. “Hence we decided to film with drones.”

For Surface Aerials’ Director of Photography Jonathan Gainer, who shot Terminal A for Filmmaster, the choice of drone tech was a natural outgrowth of narrative intent.

“In the end it’s all about telling the best possible story, which can mean aerial pyrotechnics with a racing pilot or the emotional intimacy of a very long lens from an angle people aren’t used to.

“For the Terminal A exteriors they gave us an unprecedented altitude limit for an operational airport, allowing us to literally fly over planes as they taxied from hangar to runway. The agility and optics of the Inspire made it an easy choice.”

If the airport event united different branches of the drone industry under a larger aviation canopy, it was also a milestone marking how far the industry has come, and how fast it’s moving.

Since first swooping into cinema production in 2006’s Casino Royale, drones have not only become staples of media production, but also of constructioneering, digital twins, VR, gaming, security, agriculture and war.

Better tech, smaller craft, lighter cameras, extended battery lives and precision guidance systems have colluded to enable 8k sensors to fly kilometres through waypoint flightpaths.

UAE skies now ritually fill with ethereal light shows heralding aviation’s latest leap upwards.

Surface Aerials’ evolution is a case in point. Pioneers of aerial cinematography in the UAE since 2012, they’ve partnered with Motivate Media Group and Lithuanian show drone experts Light A Sky to produce aerial light shows in the UAE and KSA under the new moniker Motivate x Surface Aerials. Awardwinning show designer Armands Blumbergs has produced hundreds of shows globally, most notably for Super Bowl LVI in the U.S.

They also have a mapping division set on digitising entire cities from fixed-wing aircraft.

“Forget the metaverse,” added Gainer. “How about digital-twinning Jeddah or Abu Dhabi and georeferencing your calendar of real events in a 3D interface? We’re talking about intuitively navigable 3D spaces crafted from real photographs, with live sensors, hyperlinks to sponsor data, chat interfaces, even weather. Brilliant new optics on the world we already inhabit, not something fake or artificial.”

Ubiquitous as they may be, drones can’t see the future – yet – but when it arrives we’ll certainly want an aerial view.

By Justin Harper

AlUla launches its first ever global campaign

The exclusive Saudi Arabian tourist attraction says it wants “to talk to the world in our own voice,” explains Campaign Middle East editor Justin Harper

AlUla has launched its first ever global campaign as it looks to raise brand awareness and increase visitor numbers in a number of key markets.

The global brand campaign is called ‘Forever Revitalising’ and is the most substantial marketing investment AlUla has ever undertaken, highlighting its commitment to opening its doors to the world.

“We are talking to the world in our own voice,” Melanie de Souza, Executive Director of Destination Marketing at the Royal Commission for AlUla (RCU) told Campaign Middle East.

AlUla, often refered to as the world’s largest living museum, is targeting 10 key markets including the UK, Germany, U.S, China, India and Australia. Last year, AlUla was named one of Conde Nast Traveller’s new Seven Wonders of the World.

The campaign’s purpose is to raise awareness of AlUla’s diverse offerings while creating intrigue to inspire travellers to experience the destination for themselves.

De Souza spoke passionately about the work Alula is doing behhind the scenes “protecting our legacy,

cultural and historic, the work we are doing with restoration, vasts tracks of land, nature resevres, re-wilding, and really with community at the heart of our endeavours”.

AlUla has an elaborate plan of development to 2035 across a vast array of sectors including sport, cycling, equestrian, arts and creativity. “We haven’t even scratched the surface, and we already have so much to hang the hat on,” added De Souza.

The campaign itself is B2C, but has a BCB element, establishing relationships with partners such as travel distributors and airlines. The metrics focus on increased visitors and brand awareness.

AlUla has been postioned as a premium destination, with high-end hotel brands such as The Banyan Tree already onboard. But in the coming years, more moderate room stock will be added, bringing the price point down.

Global campaign

Each launch event will be tailored to the specific market, emphasising AlUla’s commitment to sharing its compelling story and unique attributes with a global audience.

The global campaign will be in different languages, including Chinese, Arabic, German. Italian and French.

The campaign starts on February 29th and is positioned for the long term, as a three-year exercise “at the very least”.

It involves hero films, beautifully shot by renowned French cinematographer Bruno Aveillan, and pillar-specific films across history & heritage, arts & culture, nature, adventure and wellness.

AlUla doesn’t pay influencers and hasn’t used brand ambassadors, instead benefitting from high-profile visitors including footballer Cristiano Ronaldo and actress Sharon Stone.

There are still many misconceptions about Saudi Arabia, which football superstar Lionel Messi has helped tackle in a recent campaign for Saudi Tourism Authority.

“It’s no surprise that Saudi still has some perceptual barriers. But visitors are so reassured on the way out, so impressed with locals and the warmth of interaction. It’s time for us to formally invite the world.”

AlUla’s lead brand and creative agency is Deloitte Digitial, Zenith is its media agency and H+K is its destination agency. The social media strategy is handled by Incubeta.

A luxury experience above the clouds

Soudah Peaks is keen to make a name for itself among Saudi’s growing tourism sector, says Soudah Development’s Dan Mcbrearty

Soudah Peaks is an upcoming yearround luxury mountain tourism destination set at 3,015 metres on Saudi Arabia’s highest peak – a place where visitors can indulge in unique, memorable and authentic experiences rooted in local traditions, history, architecture and cultural heritage.

The announcement of Soudah Peaks was made through an integrated campaign titled ‘Above the Clouds’ that spanned various platforms, including a digital presence, a video showcasing the natural beauty and heritage of the region, and Out of Home advertising in key locations such as Dubai, Paris, London, New York, Geneva and Riyadh. The campaign also included a press release – that was disseminated in multiple languages and picked up by local, regional and international media outlets – as well as a statement from His Royal Highness, reflecting personal interest in the region, solidifying its international appeal.

His Royal Highness Crown Prince Mohammed bin Salman, Chairman of Soudah Development’s Board of Directors, stated that Soudah Peaks represents a new era of luxury mountain tourism, adding: “The masterplan reaffirms our commitment to global efforts in preserving the environment and natural resources for future generations and aims to contribute to diversifying national income sources and building a strong economy that attracts local and global investments.”

“Soudah Peaks will be a significant addition to the tourism sector in Saudi

Arabia and place the Kingdom on the global tourism map, while highlighting and celebrating the country’s rich culture and heritage. Visitors will have the opportunity to discover the beauty of Soudah Peaks, explore its rich culture and heritage, and experience the authentic hospitality of the local community. Soudah Peaks will offer unforgettable experiences amidst lush greenery, above the clouds.”

‘Above the Clouds’ was inspired by the architectural heritage of the area and the historic 500-year-old village of Rijal Almaa, which features traditional houses designed to blend with the region’s weather patterns. This unique architecture, combined with the appeal of the highest peak and misty weather – that allows one to see the clouds beneath them – was seamlessly woven into the campaign’s narrative.

The campaign’s aim was to position Soudah Peaks as a luxury mountain tourism destination and to showcase the country’s diverse landscape. From picturesque coasts along the Red Sea and Arabian Gulf to breathtaking mountains, forests and hills, Saudi Arabia is a hidden gem waiting to be discovered.

Soudah Development, the entity driving the development of Soudah Peaks, collaborated with a mix of skilled local and global agencies to bring the campaign to life. Its objective was to connect people from around the world, showcase the vibrant culture, rich heritage and warm hospitality of the people of Saudi Arabia, and spark interest in the upcoming destination.

By Dan Mcbrearty, Chief Development Officer at Soudah Development

‘‘Soudah Peaks will be a significant addition to the tourism sector in Saudi Arabia"

The logo of Soudah Peaks resembles a flight of stairs ascending towards the clouds – a blend of mountain plateaus, steep slopes and agricultural terraces that link nature, culture and people, embodying the essence of the destination and its landscape. It highlights the path to discovery, culture, nature, wellness and adventure – the path that takes you above the clouds.

At Soudah Peaks, there will be something in store for everyone. Adventure seekers can indulge in exhilarating activities like mountain trails, hiking, biking, paragliding, and ziplining. Nature lovers and luxury seekers will be enchanted by the national parks, local farms, extraordinary flora and fauna, meditation centers, resorts, and yoga retreats.

The project area spans more than 627 square kilometres and will feature 2,700 hospitality keys, 1,336 residential units, and 80,000 square metres of commercial space and be home to six unique districts: Tahlal, Sahab, Sabrah, Jareen, Rijal, and Red Rock by 2033. Each district will offer world-class facilities including hotels, luxury mountain resorts, villas, entertainment, and commercial attractions, as well as authentic destinations dedicated to sports, adventure, wellness, and culture. Soudah Peaks will be a place where nature, culture and luxury convene, with each zone celebrating the region’s unique identity and legacy.

The opening of Soudah Peaks is anticipated in 2027, with completion scheduled for 2033. As an integral part of Saudi Arabia’s tourism landscape, this destination aims to captivate a global audience, offering culturally rich experiences that soar high above the clouds.

Kinder...“There’s novelty to mini objects ” (MT)

Nissan...“It was cool, now it’s everywhere, and people are indifferent.” (RA)

BMW Middle East …“Smart, creative, and cost effective.” (RA)

Asharq Discovery...“Idea had potential, but didn’t really hit the mark.” (RA)

Qiddiya City...“From the monotonous dystopian beginning to charming delivery, I want to go and play.” (MT)

Private View

RAYYAN AOUN

Chief Creative Officer, BigTime Creative Shop

BMW MIDDLE EAST: BMW IJACK (1)

Smart, creative, and cost effective. The campaign impressively tapped into an often overlooked medium despite its widespread use, turning it into a fun and informative space to show off the product.

ASHARQ DISCOVERY: DARK MINDS LAUNCH (2)

The idea had potential, but it didn’t really hit the mark. The teasers felt staged, knocking the authenticity, and the big reveal wasn’t much of a showstopper.

QIDDIYA CITY: PLAY LIFE (3)

The concept is compelling and nails the brand’s essence, and is brought to life through outstanding production quality and craftsmanship. It’s thrilling to see a new genre of film arise in Saudi Arabia, moving away from the conventional content we’ve become accustomed to.

KINDER: MINI BILLBOARDS (4)

It’s always refreshing to see new and creative media spaces popping up, particularly within the traditional mediums. Sure, they’re innovative, but do they actually work? There’s some doubt about whether these are the best ways to reach and really resonate with the intended audience.

NISSAN: PATROL CGI (5)

Lately, there’s been a noticeable trend among brands adopting CGI techniques in their online content. At first, it was cool, but now it’s everywhere, and people have become indifferent. It is crucial that we infuse these new techniques with greater depth and original ideas, ensuring they distinguish themselves and truly resonate with their audiences.

Motivate

MATT TURNER

Head of Strategy, Webedia

BMW MIDDLE EAST: BMW IJACK (1)

This is neither a big idea nor creative wonder. It’s simple tenacity. Seeing value in underused platforms and committing across a year is great. More marketers should look for gaps that can be filled with creative problem solving like this.

ASHARQ DISCOVERY: DARK MINDS LAUNCH (2)

Netflix’s ‘is a joke’ campaign is brilliant at delivering a quick OOH concept. Asharqs’s coordination is commendable, but the audience must work so hard to get the idea. I’d bet most people just think someone vandalized Bose’s posters.

QIDDIYA CITY: PLAY LIFE (3)

It’s great the strategy didn’t stop at the superlatives of what Qiddiya City will be. From the monotonous dystopian beginning to the charming delivery, I want to go and play. And I want to do it in Qiddiya City, (even if I have no idea of what’s there…yet).

KINDER: MINI BILLBOARDS (4)

There’s novelty to mini objects - jam jars at hotel breakfast/ cutlery on airplanes - that’s untapped here. A brief about ‘miniaturization’ could’ve been much bigger than small billboards in real estate offices.

NISSAN: PATROL CGI (5)

At best, this is for passengers (why have a concept excluding drivers?); at worst, it’s just for readers of Campaign. Tech driven OOH has so much potential, but immersive digital storytelling doesn’t happen at 120kmph on the SZR.

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EDITORIAL Editor-in-Chief Obaid Humaid Al Tayer Managing Partner and Group Editor Ian Fairservice Editor Justin Harper Junior Web Reporter Ishwari Khatu Junior Reporter Sonia Majumder

DESIGN Art Director Clarkwin Cruz Designer Thokchom Remy

ADVERTISING ENQUIRIES Chief Commercial Officer Anthony Milne Publisher Nadeem Ahmed Quraishi (nadeem@motivate.ae)

Sales Manager Tarun Gangwani (tarun.gangwani@motivate.ae)

PRODUCTION General Manager S. Sunil Kumar Production Manager Binu Purandaran Production Supervisor Venita Pinto

HAYMARKET MEDIA GROUP Chairman Kevin Costello Managing Director Jane Macken

BMW Middle East

BMW iJACK

Agency: Serviceplan Middle East

Creative Director: André Couto

Asharq Discovery

Dark Minds Launch

Agency: SRMG Labs

Chief Marketing Officer: Katie Golding

Qiddiya City

Play Life

Agencies: Droga5, Accenture Song

Directors: Ian Pons Jewell, Nick Roney

Writers: Asmaa Mohamed Akram, Talal Haj Ali Bek, Andy Lockley Kinder

Mini Billboards

Regional Category Director: Andrea Longobardi

Nissan Patrol CGI

Agency: TBWA\RAAD

Content creation: Hajjo Media

the Chief of Innovation & Growth, Publicis Groupe ME&T

Jennifer Fischer

THIS IS NOT ANOTHER ARTICLE ABOUT AI

It’s a story. More specifically, it’s a “pick your path” type of story.

It starts the same way: It’s a story of child. Her date of birth is 20 August 2030. Aya is her name. She’s seven and a half when our story starts. She likes pink and unicorns.

There are two versions of her story.

In the first version of this story, every evening Aya heads home from school in her personal moving unit across a sprawling metropolis. She does not open the window as the air has reached critical levels of pollutions and she would immediately start coughing. She navigates the labyrinth of advertisements, surrounded by constant simulation with personalised messages delivered in augmented reality across her path. A premium access in her AR glasses would limit the number of commercial messages she sees, but her parents cannot afford it and so the ads pay for her device, which she absolutely needs at school.

Holographic billboards project adverts with unicorns that promote the latest fad of coconut oil drinks and pet robots.

As she mindlessly looks at images of unattainable beauty standards and perfect lives created by the algorithm, she’s inundated with deepfakes - though this is not a word you use anymore, they talk about “alterreality”. In this alternate world that she experiences in such an immerse and intimate way, it’s not clear whether unicorns are even real or not.

During her breaks at school, she lounges in individual immersive booths just like her classmates. Each are immersed in their own virtual realities, escaping the world that surrounds them. The lines between reality and fiction, between truth and lies are so blurry that no one cares anymore, not as long as it captures your attention.

reality to keep her spirit in check.

When she grows up, Aya wants to be rich so she can get all the things that she sees in this alter-reality and maybe even get a genetically engineered unicorn, a pink one. Wouldn’t that be cool?

In the second version of this story, Aya walks home from school every night. She loves that walk because the street is filled with grass and flowers, lots of space to play. She uses her AR headset to remember what she learned today at school. She gets her unicorn avatar Kyra to quiz her about the classes.

But she also loves to walk back with her friends, and then they play with Kyra, they race to see who can outrun the unicorn.

Her AR glasses filter out messages that are not appropriate for her age. Any content that she accesses fits the values set up by her parents.

She has access to well-balanced branded recipes. She loves to try them at home. She feels like a grown up as she decides what she wants to eat, sends the recipe to dad, mom and her big brother so they can comment and approve. Then by the time she’s home. The ingredients are waiting by the door, freshly delivered by a local farm. She usually cooks with dad using voice instructions and augmented reality to guide her.

The content that she is exposed to is curated to expand her horizons, to allow her to enrich her imagination and knowledge rather than show her more of the same. She gets introduced to science, art, music and literature.

“The AI encourages her to switch off regularly and explore the world”

Everything that she looks at is monitored, how long she looks, what dilates her pupils, what accelerates her pulse, it is all analysed and used to optimise content to drive engagement, claim control over her mind.

In this reality, people have been productized, childhood is just the time during which the algorithm gets to know you and optimises itself to curate your experience.

There is no more privacy. The surveillance systems track her every movement, all is known about her and if she ever risked becoming a threat to the current status quo, the system would predict it and curate the right

The AI encourages her to switch off regularly and explore the world, apply her knowledge, so she builds castles, she paints rainbows and she even carved a little unicorn as a toy. When she grows up, Aya wants to be a wildlife biologist so she can protect wild animals. Imagine leading conservation efforts for rhinos. Wouldn’t that be cool?

These are just two stories, but many paths lie ahead of us. AI is neither good or bad. It is only an enabler for our will.

This means that the responsibility lies squarely with us. To learn about AI, build a point-of-view, discuss regulations, identify where our values lie and ensure that the future of our industry and our society at large is one that we build intentionally together rather than one that we just stumble upon.

Jennifer Fischer is

Appointments

Publicis Groupe

Middle East has appointed ADEL BARAJA as CEO of Publicis Communications

KSA. Baraja’s appointment reinforces the agency’s ongoing commitment to accelerating growth within Saudi Arabia, while improving collaboration, and expanding capabilities to deliver work for clients. The role will see him leading the Saudi operations for Publicis Communications which has Leo Burnett and Saatchi & Saatchi within its framework.

Starcom Middle East, a media agency under Publicis Groupe Middle East, has promoted AMIR ANTOUN as the new Head of Starcom Levant. Having been an integral part of Starcom since 2007, Antoun brings a wealth of experience and expertise to his new role. Throughout his professional journey within Starcom, he has played a pivotal role in spearheading operations in Iraq and developing senior client relationships.

RODRIGO LEAL

RODRIGUES has joined Publicis One Touch as its new Executive Creative Director. In this new role, he will be responsible for driving the creative vision and cultural impact of this iconic brand. Before joining Publicis Groupe ME, Rodrigues served as Executive Creative

Director at Horizon FCB Dubai, collaborating with major brands such as Clorox, VISA, DHL, Coca-Cola ARENA and Citibank.

Creative comms agency, The Romans, has appointed JOE LIPSCOMBE as Partner. He will lead the agency’s new strategic direction in Dubai and further its presence across the region. The Romans will continue to bring its globally award-winning creativity to the market, with a renewed focus on growth creation, reputation, and cultural influence. Lipscombe entered the region as a journalist, reporting for global publications, before serving almost a decade as Ogilvy’s executive strategy and creative director for PR across MENA.

FP7McCann MENAT doubles down on its growth goals with the appointment of SAMANTHA

the region for over five years, working in strategy leadership positions with FP7 McCann. This builds on his distinguished experience in strategy and planning in the UK.

MCN, part of IPG, has strengthened its leadership team in the region with the hiring of a new Chief Communications Officer. LIZZIE DEWHURST, the former Head of International Communications & PR at Publicis Groupe, joins the leadership team, reporting to Ghassan Harfouche, Group CEO MCN MENAT and President

McCann Worldgroup

STUART-PALMER as Chief Growth Officer. With over two decades of experience in the advertising industry, Stuart-Palmer brings a wealth of experience across geographies having worked at prominent agencies like Impact BBDO, TBWA\Raad, and FCB New Zealand. Her previous roles have encompassed office leadership and regional business leadership, with a proven track record in areas of growth and talent development.

Memac Ogilvy has appointed planning and strategy specialist MARIO MORBY as Chief Strategy Officer, MENA. He has been based in

APAC. In the newly-created role, she will be responsible for the brand profile, reputation management and marketing of MCN and its portfolio of agencies.

Zenith ME, a media agency under Publicis Groupe Middle East has appointed ALINA WAITE as Business Lead - Strategy. In her new role, Waite will be responsible for delivering strategies to clients that allow the agency to create innovative work. In addition, she will also elevate the marketing and growth initiatives for the agency across the region. Waite has more than eighteen years of global marcomms experience working in agencies both in London and Dubai.

The Spin

While anxiety is a serious thing, you can’t not laugh at a sign that seems like it is offering anxiety orders for sale. Not sure if $45.00 is a bargain or not. Are we talking simple stage fright, a panic attack or something even more serious? Anyway we suggest raising the price.

There’s a scene in Alice in Wonderland which talks about the wrong Alice. And the Daily Mail seems to have got the wrong Ryan. Ryan Gosling is a household name after his brilliant performance as Ken in Barbie, even though he missed out

on best supporting actor at the Oscars. But this seems to have passed by one headline writer at the Mail who thinks Ryan Reynolds (wise-cracking Deadpool actor) is really Ken. Ken-ough already.

We always have a chuckle on International Women’s Day for the totally inappropriate and patronising ads. So how about this one for a hospital? ‘Don’t hide yourself. Awaken the woman in you’ it states above a picture of one, possibly two, and hopefully not three

pregnant females. So you have to get pregnant to feel like a woman do you? We could think of perhaps one hundred alternative ways off the top of our heads, than a bun in the oven.

We stumbled across another questionable ad for women. Crypto is a new fragrance for females from cryptocurrency exchange Binance. It’s a way of encouraging more women into finance by making them smell nice. That’s bound to work right?

We know cats are cute, and many an ad campaign has used a furry feline as its main star. Even better if they can talk or are fat. But using a dog instead of a cat is a novel idea for a cat advert. ‘10 best pet insurance for cats’ does kind of call out for a picture of a cat right? And don’t tell us you can’t find a cat image. Getty alone has 22,050 images according to a quick Google search.

And finally, we do like unusual products at Campaign Middle East. You may remember our portable toilet last month. But why would you wear shoes that make you look like your feet? Well the feet of the Hulk anyway or Frankenstein’s monster. Definitely a step in the wrong direction in the fashion world too.

Send us any advertising fails you see to justin.harper@motivate.ae

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