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The Power of Auditory Branding
October 29, 2024 Brand Leadership Career Growth Communication Design Leadership Digital Transformation Leadership Management Strategy Teamwork
Guest Speaker
Laura Montarroso Daher, Founder, Music Collective

Laura, whose roots stretch from Spain to the West Indies and currently calls London home, brings over a decade of expertise to the music industry. Her journey is highlighted by working on innovative music and audio strategies for world-renowned brands such as BACARDÍ, P&G, and Revlon, demonstrating her innovative prowess and delivering impactful results.

Her industry influence has garnered prestigious accolades, including the Music and Sound Award for Best Composition in Branding and Transform Award for Best Use of Audio. She has been appointed as a judge at The USA One Show Awards and the UK Creative Festival, where she has identified excellence in music and sonic creativity. She is also the author of an e-book titled THE BRAND AND THE BAND, exploring the symbiotic relationship between music and brands.

Outside of work she is often found in a football stadium, where she enjoys immersing herself in the excitement of the game and cheering on Atlético de Madrid and the Spanish women’s national team.

A picture’s worth a thousand words. A sound might be worth more.

Ask almost anyone around the world to sing the McDonald’s theme and they probably do it, on command and in tune. Those five little notes encompass so much more than just a hamburger, but the reason behind it is a lot more complex.

In this episode of Real Creative Leadership, host Adam Morgan talks with Laura Montarroso Daher, founder of Music Collective and a creative visionary when it comes to auditory branding. Laura explains why brands should be incorporating sound and music into their creative strategy (which encompasses way more than catchy jingles) and how to look for inspiration and storytelling techniques in both familiar and unlikely places.

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REAL CREATIVE LEADERSHIP

Season: 5

Episode: 7

Episode Title: The Power of Auditory Branding — with Laura Monterroso Daher

Guest Title:
Laura Monterroso Daher, Founder, Music Collective

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Laura Monterroso Daher
Does it evoke emotion? Is it part of storytelling? Does it create experiences, unmemorable ones? Sound can do that. You don’t need the other counterpart.

Adam Morgan
Welcome to Real Creative Leadership, a video podcast produced by The Stoke Group and hosted by me, Adam Morgan.

So today we’re going to be talking about a very interesting topic: the topic of auditory branding. What do you know about auditory branding? We’re not just talking about adding a unique sound here and there. We’re talking about building an entire sound tailored to your brand’s creative needs and cohesive across every touch point.

Laura Monterosso Daher is the founder of Music Collective, a full service music and sound agency that actively redefines and shapes the concept of audio branding and strategy. She’s worked with big names like Bacardi, P&G, Revlon, and she also co-hosts the podcast Cultured that celebrates and embraces cultural nuances and fosters unity through music.

Today we’re going to dive into the idea of auditory branding —what it is, how it works and why it matters. We’ll also talk about how Laura guides brands to auditory representation that truly reflects their values, spirit, and heritage, and we’ll define her term “sonic framework” and discuss what it means to your brand.

I’m so excited about this episode. Thank you so much, Laura, for joining us.

Laura Monterroso Daher
It’s a pleasure.

Adam Morgan
Welcome to the show.

Laura Monterroso Daher
Thank you so much for having me.

Adam Morgan
Well, usually on the show, we start out by letting the audience understand a bit of your background. So if you’d like to take a minute to talk about your training, your career, your background, whatever it is, so we get a good understanding of who you are.

Laura Monterroso Daher
Sure. So, my name is Laura. I was born to a Spanish dad and a Caribbean mother. Being brought up in a very musical family — my mom got accepted in the London School of Music. My dad used to be a road manager for the most well known concerts in Madrid and also international acts come into Madrid. So always surrounded by music. Coming from the Caribbean you know, surrounded by different types of genres, and I never really decided to be sound as a career, ever. I used to play the violin, the drums, but it kind of — I don’t know — it came naturally. 

I think I came across this music production course because I didn’t really have much resources and opportunities in Spain. I decided to go to the UK to pursue that career, and I ended up studying audio music tech and then I got brought to London to do anything related to music and branding. That’s how I started my career working for small, medium, and really big brands in that space. 

So this was probably nearly ten years ago now, until I decided to actually do it in a way that was really represented to my cultural values. So that’s why I founded Music Collective, to really get representation and to create really high quality music and sound strategies for brands.

Adam Morgan
That’s just so fascinating. I — definitely, as creative people, we follow these paths, right? Our career paths are never straight or linear, but yours has been so fascinating and just all the different touch points of integrating with music and being driven by music and part of music. And it’s just so fun. We don’t think that’s going to be the thing that we do, but now, here you are the expert on music strategy. Right?

Laura Monterroso Daher
Yeah. It’s quite funny, cause a lot of people still don’t really understand what I do exactly. My grades and friends do have an idea when it comes to, like, outside of work — they’re like, “But what do you exactly do?” And I try to say, “Well, just think about a brand having its visual identity. I do all the sonic and sound and music framework for that.” So they do get the concept and they’re like, “But is that, you know, it’s like, is that like Netflix or McDonald’s?” I’m like, “No, it’s much more than that.” 

You know, I think there’s so many misconceptions with what music and sound is for branding. Like, I guess a big part of my job is educating people how important this is to consider for a brand strategy overall.

Adam Morgan
Oh, a hundred percent. And the funny thing about it is, yeah, we’re so ingrained with the idea that brand is all about words and pictures, right? Like, it’s really going to be about how the brand speaks and how the brand is visualized with art. There are more than two senses, right? Like, there’s more than two ways to do it. And so having audio and sound to be a part of that branding is a huge, huge part. And you’re right. Like, so many people think jingles. Oh, you’re just talking a little, “Dah, dah, dah, dah, dah!” And that’s not what we’re talking about here. We’re not just talking about five notes together, which is — it is sound. It’s a part of it, right? But it’s not the whole thing.

Laura Monterroso Daher
Yeah, it’s so true, Adam. And going back to senses, like if you think about it, it’s the fastest sense, So, like, how powerful is that? How powerful is a medium that’s the fastest sense? And you don’t need that visual aid to help you recognize a brand, you know? If you don’t see a brand, but you hear it, you’ll still be able to recognize it. So that’s how powerful your medium is when it comes to how important, like, sound is. 

For a creative output, you think about, does it evoke emotion? Is it part of storytelling? Does it create experiences and memorable ones? Sound can do that, you know? You don’t need the other counterpart. So, yeah, it can act as something additional to your strategy, but also it can act by itself.

Adam Morgan
Like, if you really stop and think about it, like the reason why we go to video or TV is because we have sound, we have music, we have ways that we can get emotional a lot faster, a lot more so than just like print or a banner ad, right? And so having that audio is a huge part of it. I mean, I know back in the day when we did all these pitches, it’s like, of course you want to involve music because it gets the audience emotionally connected faster, but at the same token, like, why have we not just focused on it? 

I think what we’ve been doing is just kind of like shooting from the hip and hoping that we’ve kind of figured out some sound that works once in a while, but have never really thought about it as far as the whole journey and how it really, like, what true emotion we want connected to this brand and why.

Laura Monterroso Daher
I think another misconception is how people think it’s so easy to just, you know, choose a track or choose a track that really fits the brand. So there are two completely different things and it’s always left at the last stage and it really — I don’t know, I feel like that’s why it’s so important to always put sound at the start when that’s within the concept of the idea.

Oh, don’t get me wrong — a lot of people do know the importance of sound, and even some of creative ideas come because of a song. Like, you know, some of the creative ideas are music-led, so sound needs to be at the forefront, or music needs to be at the forefront, you know, there is a song that they might choose, and then they create the whole creative output around that song. 

But usually what happens is the last minute panic, you know, like, “Can you clear this track? Can you do this? Can you do that?” And it’s like, “Actually do you realize how much this costs?” And then they’re like, “Oh, can we just replace it for something similar?” And it’s like, it doesn’t — it isn’t as easy as that. And that’s why sound and music are so important. Always needs to be thought of at the start of the process.

Adam Morgan
Yeah, because I think you’re right. People are thinking of, “Okay, when we get to music, it’s just the very end. We’re going to just going to pick a track.” But you’re not just picking tracks. You’re creating music. You’re creating the emotional connections between specific tones and specific instruments and specific moments, right? So how does that change your role in overall creative? Like, it’s a different animal.

Laura Monterroso Daher
Yeah, it really is. I think as much as we educate people, we need to be educated ourselves of the brand and the branding team or either the agency team or the branding team, or the marketing team would be able to educate us of what the brand is. Because people — I mean, choosing music and sound is very subjective, right? We always think about our feelings. We always think about our choices, our personal choices as people. But we never really see that a brand — it’s a persona itself. It has its own values, it has its own identity and that’s the person that we need to focus on. And that’s why as much information we get from the marketing teams, the advertising teams, the branding teams, the better for us in order to translate all of those values into music. 

And as you say, music is a whole other world. You know, you think about harmony, tempo, you think about instrumentation; you think about, you know, is it in the brand culturally relevant, you know, or what target audience does it have? What type of music does that target audience listen to as well? You think about everything within that spectrum. 

And then also, not only thinking about communications, you know, what is the brand positioning, and also where is the brand communicating? Is it only on TVCs? Probably not. You wanna create experiences. I think we’re living in a much more human-type of experience era, and that has a lot to do with, you know, a lot of the creative output as well. Again, it’s not only a track, it’s how can you really create something consistent that’s quite holistic throughout every single, you know, touch point overall.

Adam Morgan
Yeah, I love that. I know we’re going to dig into it a little bit more as far as like, exactly how you do it and what the process is and what you’re doing. But something you said resonated with me where you’re like, “It’s its own persona.” And if we stop and think about us as human beings, like during our adolescent or our, you know, teenage years, think of how much music defined who we were as a person. And so many people where it’s like, “I like this and this and this and this — therefore, that’s kind of who I am or what groups I go with or who I connect with.” And it’s so crazy that we haven’t spent enough effort on this over the years, to define, like, what our brand’s musical tastes and persona is and how that connects back with its tribe. It’s fascinating.

Laura Monterroso Daher
It really is. And sometimes it’s really difficult to separate the two because at the end of the day, we’re human beings and we’re part of this process, right? We’re part of this collaborative process. And there’s a lot of decision making. But, you know, it’s funny at first, like, and specifically within the sessions, while we get to the creative stage and the mood boarding process, people would think about themselves until we actually educate them.

And we’re like, “Remember, this is all about the brand, you know, we’re focusing on what works for the brand.” And that’s why we don’t usually, sometimes put really well known instrumental songs, cause then we create a bit of bias then. So we really, really always focus about the brand. And we say this at the beginning of the process, like even in the analysis stage, before the creative stage, it’s always the more we know about who this persona, who this brand is, the better we would make choices. But that’s why we do the vision boarding sessions to remind people that we’re focusing on the brand rather than ourselves.

Adam Morgan
Yeah. No more grunge. Sorry guys. So, how do you define creative leadership within your role and your approach?

Laura Monterroso Daher
 Well, first of all, like, creative output is all about — I think it’s, for me specifically, it’s three things. It’s having intuition; it’s really based on experiences, like human experiences; and timing is a big part of it as well. Are you at the right timing in terms of, you know, developing that creative output?

And in terms of how you’ve developed it and my approach, I always think about it as a collaborative and inclusive approach. I think creativity and going back to experiences plays a major part — where you come from, you know, what, like, your experience as a whole, as a human being and how you can come up with certain ideas that maybe other people haven’t thought about because of your experience, because of growing up, for instance, in the Caribbean, you might have seen things that other people haven’t.

So always that inclusive approach all the time. And I do that within curates and teams of Music Collective. That’s what we do, or by sourcing talent from different regions as well. So always that collaborative and inclusive approach has to be within the creative leadership. 

And also I think what’s very important is to create a safe space.  Like, you know, everybody makes mistakes, but how beautiful it is to be in a room where you feel safe in order to share your most craziest, you know, ideas. It’s more about how can you get inspired? No, but I think inclusivity is a massive part of things because if you’re in a room with, you know, people from different cultures, then you get that richness, you know. Something, the same idea basically might not translate within — it might translate differently between different cultures, if I’m making sense, right? And having that little touch or being able to be like, “Okay, this is a music brief, now go do a little bit of brain session, like a brainstorming session and do a bit of, you know, a music search and let’s see what you come back with,” you know, and maybe the person from, you know, Brazil comes back with a more organic playlist and the person from, you know, the Caribbean comes back with, like mostly, you know, bass, electric drums, top liners, vocal, flute, brass. There’s so many different concepts within that cultural diversity that I think it’s so important within the creative output of things. Um, and you learn from each other. So, yeah.

Adam Morgan
That’s awesome. Thanks for sharing your approach. Let’s dig deeper into this topic of auditory branding, like the actual process. How does it work? How does it operate? Like, how would you go about working with a company to figure out their auditory branding platform, and how does it fit with other creative ecosystem elements?

Laura Monterroso Daher
Yeah, that’s a really good question. I believe that previously — I guess I’m not going to name companies and so on, but a lot of music houses usually use the same type of approach, which was analyze creative management output. But within Music Collective and how we do it is first we analyze the brand and their priorities in terms of what they’re going to communicate, what touchpoints are the most important. And then based on that, we do a little bit of a historic type of research of what have they done previously? What can we learn from their choices and how we can better, you know, create this framework that I was speaking about that would work specifically for their needs, their necessities at that point in time.

And then also look at the future. How can we expand it in different types of touch points? Now, when we speak about frameworks, it could be very different ones. Some brands use music as a very much narrative approach where, you know, choices are quite sporadic. It’s not consistent, but at the same time, it really impacts.

So I don’t know if you saw the recent Adidas campaign that they did with a famous footballer, English footballer called Jude Bellingham, and they used the track “Hey Jude” and the whole campaign was based on that. And it was so impactful. Like, that piece of music for that content was incredibly impactful. 

So that’s a narrative type of approach, but other brands in order to be more consistent. They, you know, want that melody. People call it “jingle,” but it’s more than a jingle. You know, they want that melody that really resonates. So for instance, MasterCard is a great traditional approach where they have created a theme. That theme has a melody and it’s flexible between different genres, depending on the creative output of things and different types of pledge points. And then there’s some other brands that might use the same type of genre — you know, they might use just the classical genre approach for their communications or they might be tied to the cultural heritage. So they use that type of genre that it’s listened to in that specific region or area. So there are many ways now, and it’s completely different.

So that’s why in terms of the approach, it really depends, but usually it works as you analyze, you listen to a lot of pieces of music. There’s never going to be a perfect track. It’s always gathering different tracks with different elements that really represent your brand to create something really unique. And then once you create that unique piece, then afterwards manage it in terms of make sure people are educated, they know that the brand has these type of assets and how they can be deployed.

So going back to my first point, it’s always about how beautiful it is when you don’t need that visual aid and you listen to a piece of music or a short piece of sound and you know that’s when you’ve done your job.

Adam Morgan
That’s totally fair. Cause there, you know, there are some famous songs that a lot of brands have used, you know, to tell a story for sure. That’s fine. But tell me more about how when some brands get really specific, how that has made a difference? Whereas, instead of storytelling, is it just really just trying to create that unique experience that, like you said, every time you hear it, you’re like, “Oh, that’s that brand.”

Laura Monterroso Daher
Yeah. I think there’s a lot of examples. I mean, the most iconic examples obviously is McDonald’s, Netflix. Those are the two, right? Like, but if you think about it and if you actually do a bit of research of how they came about, McDonald’s was — I don’t know if you know, Justin Timberlake’s song — so they got one of Justin Timberlake’s songs, they did a cut down of the look of the song, and they, you know, probably paid him so much money, then they kept on using that, you know, five melody note, and now it’s the most iconic piece.

And if, and then Netflix as well, a lot of the times when a client comes with a brief, they’re like, “Oh, we want to be like Netflix.” And I’m okay.

Adam Morgan
So they’re looking for a jingle or a something?

Laura Monterroso Daher
Yeah. And also they’re looking like — it’s kind of like seen as something very impactful because it really works and so on. But if you actually think about it, just imagine if you don’t see movies on Netflix every single day, you probably won’t recognize that sound as much, right? Because people, that’s what people do. People watch movies, people go and see a movie on Netflix. If it’s not every single night, it’s every weekend, and you keep on hearing that sound. So the frequency of the many times hearing that sound is what makes it stick within your brain. Like, there’s research about that. So frequency is something that is there within both of the jingles, I guess. 

Um, relevancy and consistency. So, you know, sometimes people call it the three Cs. So it’s really important to understand that if a brand wants to do a good job, also with and create that type of consistency, they’re going to have to play it more than one time. You know, that’s the whole concept. If it’s created for a specific medium, like broadcast, it becomes easier because people would recognize it much more. So it’s not like magic.

Adam Morgan
Yeah, that’s interesting. So it’s like almost in that Netflix example, what it becomes over time is, you know, back in the old days when you go to watch a movie and it’s like, you’d open the curtains. And now today, when you hear that Netflix, like it’s like that now has become the, “All right, sit down, relax everyone — a movie is about to begin and I’m about to experience that fun experience.” So it becomes that emotional opener. But talk to me more about feelings because that’s really what this is all about, right? It’s trying to create a feeling when you develop that sonic framework. So what kind of emotions are you looking at when you’re, when you’re creating these for companies?

Laura Monterroso Daher
I mean, yeah, feelings are a massive part of it. The process — well, we have a bit of a criteria of different types of feelings. You know, we use a lot of research of the type dependent on the elements within a piece of music. 

So as I mentioned before, so there is instrumentation, but there’s also, you know, tempo. What feeling does a piece of music when it’s really fast give you? Probably a bit of tension, anxiety. Whereas when the tempo is slower, you’re more in a relaxed type of feeling, right? But it also depends on the tone, on the harmony. You know, if it’s in a major or minor chord, So they’re attached to all of these emotions. 

Now, when it comes to a brand, a brand also has different products, you know, so it might have a mother brand and then it might have, you know, different areas within that brand that have different types of personalities. So you always have to match those personalities to the type of elements within music and then. Translate that into an emotion, and that’s what we do within the process. That’s when people actually realize, and walk out the room thinking, “Okay, I’m gonna consider sound. Like, I’m gonna see the world a little bit different.” Not, you know, because I’ve walked out of this room listening to pieces of music, but really focusing on the  emotional side of it, of things and knowing when to apply it for a specific case or occasion or product.

Adam Morgan
Yeah, that’s fun. It’s almost like when you’re doing design work and you’re pulling out the color wheel and you’re like, “All right, red has all this warmth and blue is cool. And who in our industry — are they all as a sea of blue or sea of red?” Or, “How are we going to figure out what our brand is and how the color plays in a part, an important part of those emotions?” 

But now we’re talking about sound and I love how it’s like, from the tempo to like, is it major minor chords or is it this type of a genre, is it this type of an instrument? Or it’s like the feeling you get from a brass versus a guitar. Like there’s just — it’s so broad, and there’s so much, I guess, science around it, but it’s so fascinating that I just think that’s so cool. And why aren’t we doing more of it? I hope people who are out there listening are like, WTF? Like, I should be doing this with my brand. Why am I not?

Laura Monterroso Daher
Even if it’s like a music choice for your campaign, that can be very powerful. And as you say, some people just like to stick it with, like, the more storytelling and narrative approach. And that’s okay. That’s fine. As long as you have a bit of consistency in what you’re doing, then it’s good. Because people would know, you know.

Adam Morgan
Yeah.

Lauran Monterroso Daher
Apple doesn’t have, you know, any type of melody. But they’re really well known of using tracks that are modern, that discover upcoming artists, tracks that are unheard of, and that’s why they make a very big impact. And then when it comes to other touch points, such as their product sounds, people already know it’s an Apple computer as soon as, you know, you turn  on that button. People already know when you send an email, you know, that psychological safety gives you the type of emotion that you’re looking for, like, “Oh, my email has been sent.” So, yeah, there’s a lot of research behind that and how all that can be.

Adam Morgan
Maybe there’s a little bit we need to learn. Like you said, speak the language a little bit better to make the process a little easier. Yes. 

So, let’s talk about ways that they can do that, like, they can learn. One of them is listening to your podcast. So, let’s talk a little bit about that for a minute. Like, it’s a unique mix of cultural equity and creative insight, but what made you do that and why, and what’s the conversation around your podcast that’s so important to creative leadership?

Laura Monterroso Daher
Sure. Well, I absolutely love speaking about the podcast because it’s something — it’s a side project that really comes from our heart. So I am doing it with Hamoub. So he is the creative director at AKQA, which is one of the global agencies. And we basically met through a mentorship program, and there was this subject of around cultural impact and how it can affect people within the creative industries. Both of our backgrounds, I think we’ve struggled to adapt to a city that we’re not from, and we decided to do this in order to create a safe space for expats and immigrants that enter the creative industries that really feel that they belong. And the podcast is all about celebrating these type of cultural differences. Specifically coming from a city like London, it’s quite multicultural, but there’s a bit of a contrast there of, you don’t really see that within the professional side of things, or people are not really aware of some minor things that might happen throughout our experiences.

Such as, you could be speaking about, I don’t know, what you, the TV series when you’re a kid and you’re watching, and then you feel marginalized because I’m not from this country, aren’t really input, or give my creative perspective into that, right? So how do you make me feel included? Maybe you ask me what I watched when I was a kid in my own country — you know, things like that, where people feel a bit marginalized. 

Or even the simplest things such as how you pronounce your name. You know, I’ve been in Britain for the past nearly combined probably nine years of my life, and I’ve been saying Laura. Which is quite a simple name, but because people are uncomfortable and rolling their eyes, that’s why I did it. But when I stopped saying that, people got more curious because I started to pronounce it as “Lao-rah.” People would be like, “Oh, where is your accent from? Where are you from?”

Adam Morgan
That’s funny. It’s an auditory cue. I love the “Lao-rah.” It’s much more fun.

Laura Monterroso Daher
But yeah, it is an auditory cue, right? So it gains that type of curiosity. Like, at the end of the day, we’re trying to create awareness. Like, there are some subjects around the difference between an expat and an immigrant, how expat comes from like a privileged type of white background, whereas immigrant comes from has this negative association, right? You don’t belong in this country because you’re an immigrant. Why is that? So really understanding a little bit of the background of these type of subjects or people saying, “But your english is so good!” The “but” in that statement — so what does that really mean? So really create an awareness on, like, the cultural differences, making sure that you know people feel included.

At the end of the day, there’s so much diversity in this city, but when it comes to inclusion, I think there’s a lot of work to be done, and that’s what we’re trying to do overall through The Collective, with Music Connective, and The Collective. Yeah, creating that same space for expat and immigrants and to tell them that they’re not alone.

Adam Morgan
Love to just hear your thoughts on what are three things that brands need to consider when it comes to audio. What are they doing wrong or right? Or what, what should they just be thinking about as they’re making their own brand strategies?

Laura Monterroso Daher
Um, I think definitely think about music at the — within the first creative concept. Even though you choose music throughout the process, just think about all your senses and think about how this is going to sound. Like, how much of an impact music will have within whether that’s doing. Yeah, create a concept for a campaign or doing a whole branding strategy. Like, is music, it’s always important, but how important is it going to be as part of the creative output? So never leave it as an afterthought. That’s one of my, yeah, main points. 

And then I guess, you know, again, being consistent and flexible at the same time. So I think a lot of people, you know, as I said, people have that, this misconception of, “Oh, we’re going to create a jingle. We’re going to have to use it every single day in every single campaign.” No, you don’t. 

First of all, it’s not a jingle. It’s much more than that. Be consistent, but at the same time, be open and flexible. Use different sonic and music models that will fit the actual creative output, and try to build that consistency at the same time. 

And then again, think about inclusivity inside and outside your work. You know, be collaborative, share ideas, share music ideas, and always think about the brand as well. Like, is it from another country? How can we make it more authentic? How can we make it truly representative through sound? Or maybe partnering with artists from local regions. So try to expand on that creative output, but by thinking about the inclusivity within that space.

Adam Morgan
Great advice from an expert on sound. And I hope that a lot of us go out there and start thinking more about it. I know this has been a great journey for me and just having talked with you about, just music and how important it is and how I need to make it more important and make more effort around it.So I hope others out there are inspired and can find new ways to bring audio into their brand strategy so that they can make their brands a little more robust. Thank you again. This has been so great to have you on the show.

Laura Monterroso Daher
Thank you, Adam. It’s been a pleasure and thank you so much for championing this. I think we need more creative leaders that champion music and sound as part of this strategy. So thank you so much.

Adam Morgan
As always, you can find me at adamwmorgan.com. And finally, this show is produced by The Stoke Group, a full service digital agency that specializes in content, marketing, video, and interactive experiences. So if you’re looking for a partner for strategy or content or anything else, visit thestokegroup.com. Thanks again for listening, and we’ll see you next time.