This is a bit of a wildcard post, but I thought I’d keep you all briefly updated with what’s going on work-wise.
It’s a definite disappointment to see Reputation Online close (which happened very suddenly on Tuesday), but amid a companywide effort to keep only the most profitable magazines in terms of ROI, we just couldn’t compete with the likes of behemoths Marketing Week or Creative Review. Thankfully, heritage brands new media age and Design Week have both managed to keep their online presences and I’m glad to see the fantastic editorial teams survive.
We grew our readership of Reputation Online from the digitally-savvy specialists initially to include senior level agency heads and in-house marketers in the end, all in just under two years. The events, awards and networking sessions we’ve run have started a few careers, cut through a lot of the hype surrounding online comms and started some important conversations. Many of which won’t end just because the site has.
A huge thank you goes out to all of the people that helped me make that happen. I’ve always been a champion for PR – and will continue to do so with a healthy dash of scepticism.
Now, I’m excited about my next challenge. I’ll be taking a few months to take stock, look around for my next project and see what’s going on in the world.
If you’ve got something going on that you think I could get involved with, or would like my take on, do get in touch.
I spent last weekend in Barcelona at Sonar 2011 and have come away with a renewed love for a few artists, plus a new found hunger for others.
The first of which is the combination of My My & Emika, which we heard in a quirky bar called Soda. A flash of Soundhound, and I’d discovered what it was.
This is the track in question.
After a little digging, I found another track called Lights Go Down, which has a similar vibe – but Price Tag is a definite winner.
Following the glowing review I gave A-Trak’s set, there’s been one sample I can’t get out of my head. I heard him play it at Sonar, then Tiga do the same later.
But alas, it seems that, along with half of the web, I’d simply fallen under the spell of the ‘Big Bad Wolf’ sample that he’s been playing at festivals all over the world. It’s hotly tipped to be Duck Sauce’s next single, and when it gets released, is bound to be a monster.
When you have to get on a plane to go to a festival, the excitement increases tenfold
Sonar’s organisation is incredibly impressive. You can’t use cash at the bars, so instead buy tickets for specific drinks ahead of time. A combination spirit/mixer (with what I can only assume is a quadruple measure) was €8, a small cup of beer at €4. This cut down on queing for everything, the drinks were strong and it seemed like pretty fair pricing.
Festivals in hot climate are amazing. No pre-planned layering and bringing several jumpers to banish the cold at 4am.
Day one (of Sonar by Night at least) was definitely quieter than day two.
Diskjokke wasn’t given prominent enough position on the schedule, but was brilliant and I loved the Disney-themed SonarCar stage.
Having bumper cars at a festival is FUN.
SonarPub was easily the best area. It was the perfect size, therefore retaining a sense of atmosphere, while not feeling like you were getting crushed.
I didn’t see anyone get insanely messy or need medical attention, which was a welcome surprise.
Trentemøller was fantastic live. His band added to that; starting with a girl playing guitar with a bow, an incredibly energetic drummer and a host of others on stage. Moan sounded amazing as a crescendo.
Annie Mac fell a bit flat on the crowd. I’m usually a fan, but it was just too average. Katy B’s live bit with her was fun, but I’m not sure if it really had a place on the programme.
A-Trak was the best set of the entire festival. He’s been a favourite of mine since remixing Yeah Yeah Yeah’s Head Will Roll, and his Duck Sauce project with Armand Van Helden is huge, but to watch him mix live was in a different league. I’ve never seen a DJ work so fast, or with such little guidance from cans. He obviously knows his tracks inside, out, back to front, and blindfolded. Props for playing in a dinner jacket too. I’ll be seeking him out again.
The sun comes up quickly in Barcelona. At 5.40am A-Trak finished and it was pitch black, by 6.30am for Tiga(only so-so, but unfairly positined in SonarLab, which had no atmosphere to it) – it was light.
M.I.A. was, once again, terrible. Newly blonde, but apart from that, nothing has changed since I saw her at The Big Chill last year.
Chris Cunningham was equally as bad. I had high hopes, but his vibe is too dark to translate in that environment. We ended up leaving after two songs as it was such a downer.
Yelle is the epitome of a French act. I got to hear her do her cover of Robyn’s Who’s That Girl, which was great, as well as a few others I recognised/enjoyed. She’s 80s-tastic, all synth and electro pop, but was a little whiny live. I prefer the mixes of her tracks, which make them a bit more instrumental, but it was a happy antidote to our previous Chris Cunningham deathtrap.
Underworld were my other big win for the weekend. As we discussed at the time, you can tell you’re watching a crowd pleaser from the get go. They filled SonarClub like no other act on the programme, and kept an insanely high level of energy for over an hour and a half. Born Slippy was an inevitable closer, and it was definitely one of those moments I’ll never forget.
New artist spot of the festival goes to Buraka Som Sistema, Â an act from Portugal that fuses techno with African kuduro. You’re left with something that knocks you off your feet you want to dance so much, so they were fantastic live.
Additional useful info. When you leave Sonar, don’t turn left and hope to find a cab. It’ll take you hours to get home. The buses run super regularly and cost €2 each way. They do get busy, but if you time it right, they’re a breeze. Alternatively, if you don’t want to face the crowds, get a cab on the way up. From central Barcelona it’s only €15ish.
I had a blast at Sonar. It had a totally different vibe to anything I’ve been to before and I’d definitely go back. The space isn’t as big as you’d imagine, so it’s all about the artists. If you spot a few you like, it’s totally worth a trip.
Ticket prices are €39 pp for entrance to one of the days (12-10pm), and €60 pp for Sonar by Night. SonarPass for everything is €155 pp, but we bought a two-day Night pass for €100 pp, which was definitely the best option for us. All info here.
The premise is simple; the company produces silver necklaces, charms and pendants with lyrics of your choice on.
Whether it’s a special track, words that are meaningful or an idea you respect, you can select the type of jewellery you want and submit your chosen lines.
This is obviously a young company with a great idea. You buy through Paypal (at £70.50 for a necklace including packaging) and submit your chosen lyric in the ‘additional info to merchant’ box.
Once it takes off, I hope to see them integrate some solid ecommerce functionality on-site. It’s just a lovely idea.
This is a bit of a wildcard post, but I thought I’d keep you all briefly updated with what’s going on work-wise.
