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Musical Media Space

September 6, 2010

Just over a week ago, John Hegarty streamed a live on-line fireside chat about global languages and global brands. In it he talked about many things, but he also rekindled my feelings towards  the 2008 Oasis Street Music campaign that was launched to promote the release of the Dig Out Your Soul album.


Basically, various New York street musicians were given the sheet music to new, unheard Oasis songs, and let loose on the streets of the Big Apple to perform their own interpretations before the record was released.

The fireside chat got me thinking about this campaign again, and it was only until I got on the bus home from Angel the other week that i realised how good it is.

As i clambered onto the top deck of the 43, I was greeted by the sound of a one-man-backseat-disco. Whilst the majority of my fellow passengers quietly tutted in that brilliantly ineffectual English way, I myself was busy realising how accustomed I had become to this seemingly ubiquitous occurrence.

Why not push the Oasis idea further and release an album like this!

For the right kind of subversive, angry record release, why not recruit fans prior to launch and get them to play it on the top decks of London buses solidly for a day. Anti-social? Possibly. But definitely a story to be had. And there are other ways of doing this too. Why not tap into all those other places where we hear or at least expect sounds to emanate from?

Or what about those places where noises already exist, but could in-fact benefit from a bit of artistic licence to make them more pleasing to the ears.

Remember when Blur were commissioned to provide the landing melody to the Beagle2 in 1999?

Musical Media space exists everywhere, yet  how much of it do we really utilise?

Maybe this way, the age of interruption doesn’t need to be supplanted by the age of engagement. Maybe interruption itself can be engaging?

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