Close-Up: Live Issue - BBH takes 'remastering audio' angle for Audi TT

The interactive digital campaign features 14 remastered tracks to highlight the marque's evolution.

Bartle Bogle Hegarty's campaign for Audi's launch of the remastered TT has taken "remastered" literally.

The agency has dismissed a traditional above-the-line marketing push for the iconic Audi sports marque, instead choosing a musical approach. With remastered tracks as its inspiration, BBH has created a digital campaign that aims to drive brand awareness of the new TT through quality of content.

The strategy unites the evolution of an iconic brand, with reworked musical tracks produced by emerging talent to create a series of re-interpretations of 14 seminal songs.

Mark Boyd, the director of content at BBH, explains: "We wanted to focus investment into production of great content rather than in media spend. By creating content and seeding it to opinion formers, it would develop a momentum in itself. If you create the right content, then they will come."

With everyone jumping on the digital bandwagon, it is surprising that there is still space for innovative interactive campaigns, but BBH believes that the agency has achieved just that.

The campaign revolves around the website, where visitors can listen to the tracks, which will be released over a ten-week period to keep visitors coming back. The songs include Talking Heads' Road to Nowhere, covered by Lisa Lindley Jones, and Gloria Jones' Tainted Love, reworked by Coco Electrik.

The site also offers visitors remixing software and downloadable samples of the songs so they can create their own versions. There is also a podcast and an interactive driving game called Journeys Through Sound.

Creating the musical content was no easy task. "The biggest difficulty was securing the music tracks. It involved many contracts with record companies, publishers and artists," Boyd says. "Getting the rights to these iconic music tracks, especially from record companies and artists who are very protective, was one of those enormous logistical jobs."

BBH's music licensing arm, Leap Music, was instrumental in the laborious process of securing licensing rights to the famous tracks.

Richard Kirstein, the managing director at Leap, says: "The whole process took about six months from start to finish. Our role was helping to set up sessions and dealing with all the negotiations of the deals right the way through to closure of long-form contracts."

"We asked publishers to pitch well-known songs they could clear for a branded project. We ended up with a list of around 70 songs which we took to independent record labels and asked which artists they had that would be interested in recording the songs," Kirstein adds.

The decision to eschew big names and enlist artists such as Xpress2 and The Motorettes from independent record labels was, Kirstein says, intentional. "We felt that we'd be able to achieve what we wanted to do easier and faster.

"Independent artists were willing to embrace branded content," he explains.