Emotional context of creativity

Martyn Gooding

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I don’t like jazz.

I listen to a huge amount of music and really get every penny’s worth out of my Spotify account.

But for all the genres I listen to, I just don’t like jazz.

So, it’s unusual that I find myself regularly going to jazz clubs.

I go more than I go to gigs or festivals.

And I love it.

But I love it because I sit in a smoky, dark room of leather and wood.

I’ve been to one in Detroit that was an old prohibition room with a tunnel to the river for smuggling in hooch.

I went to one in Chicago - on my own - and sat at the front with a whisky, smiling throughout as an apparently famous jazz trumpeter did his thing.

But I don’t like jazz.

And I never play it home or at work.

I actually find it quite awful and annoying.

There’s no ‘atmosphere’.

Lighting and environment is a powerful agent on mood.

The way we experience something directly affects our perception of it.

And this is effectively what we do when we are marketing a product.

So why does so much of advertising insist on the straight sell? The cold, rationalising of a product’s benefits.

We buy things based on how we feel about them.

The layering of the experience around a communication is vital to steer the desired mood in a particular direction.

Changing brand perception is an indirect exercise of the way we experience the touch points with a product.

Digital is the most common first touch point with most products, which is why it’s important to nail all those subtle cues that our brains pick up on without us knowing about it.

In the case of Jazz the product is the musical craft.

The experience is the downstairs smoky jazz club.

Communications need to do the second one - the brand experience, not the product.

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Martyn Gooding

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