Introduction
The Irish Audio Awards is about showcasing the unique strength and power of audio. It is about celebration, celebrating the creativity of the Irish advertising sector, celebrating the amazing talent that works within it and celebrating the unique power of audio, which has the ability to engage imaginations like no other medium can.
The uniqueness of audio lies in its ability to foster a two-way dialogue between listener and presenter with the listener extending an invite into their homes, their cars and their daily lives. The ubiquitous nature of smartphones and the increasing penetration of smart speakers enables easy access to live radio and all audio content anywhere and at any time of the day.
A huge and growing audience presents opportunities for agencies and advertisers to connect with their audience in a very powerful way. We passionately believe with the creative talent at our disposal in Ireland combined with a rich culture of storytelling, it is a realistic objective for Ireland to play a very strong role in audio awards globally, even dominate such a category. Creatives are competitive people and audio is one of the most creative media, we should be world leaders and we are only scratching the surface.
We are committed to recognising and rewarding great work in audio and championing the teams behind the winning work. We were delighted to see such a huge attendance at the awards evening and also the huge number of award entries, showing a 20% increase in entries compared to last year. And many congratulations to all the very worthy winners, who showcased brilliantly how to leverage the power of sound.
View from Pearse McCaughey, Jury Chair Q&A
Q: How did the Irish audio standards compare or stand up against international standards?
A: Irish audio standards continue to impress, with the best entries demonstrating a competitive edge and showcasing real talent in writing, vocal delivery, and production. While the average standard remains strong, there is a need to elevate creative standards further to compete effectively on the international stage. Specifically, I think we should be more experimental creatively and technologically and braver in how we challenge and entertain an intelligent and engaged audience.
Q: What stood out for you about the work you reviewed and awarded?
From casting the right voices to selecting fitting music and sound effects, there is evident investment in refining the craft of production. This commitment to excellence enhances the overall quality of productions, making them more engaging and memorable for audiences.
Q: What Irish brands do you believe are pushing the creative boundaries in audio?
A: Several Irish brands are at the forefront of pushing creative boundaries in audio, demonstrating innovation and effectiveness in their campaigns. Notable examples include Pride Vibes, Ireland’s first FM LGBTQI radio station, and EPIC Ireland’s Emigration Museum. Both showed how through audio alone, brands can create and be the focus of a cultural event.
Q: Are there gaps in the output from Irish creative agencies when it comes to audio? If so, what are they?
A: One area of improvement is diversifying the range of voices and perspectives represented in audio campaigns to ensure inclusivity and relevance to a broader audience. In my view, we have the most intelligent, articulate, and engaged audiences in the world. This is evident daily—particularly in local stations—in the quality of audience participation. Indeed, creatives can learn from the authentic connections between local stations and their loyal listeners.
Q: With a culture of storytelling in Ireland, is there an opportunity for Ireland to make a real impact on the global stage when it comes to audio, being recognized at global awards, for example? What needs to be done to achieve this?
A: I have no doubt that Ireland can produce audio content that resonates with global audiences. The critical factor is the will to achieve it. Audio, unlike any other medium offers a level playing field where Ireland can compete on equal terms with the rest of the world. It requires a strategic plan to position Ireland as not just the leading player—but the leading innovator—in the global audio landscape. It also calls for collaboration and patience between clients, agencies, and producers, along with investment in training. Yet it can be done. It is time to match this country’s current global achievements in music, film, and literature.
View from Sandra Bold, International Juror Q&A
Q: How did the Irish audio standards compare or stand up against international standards?
A:It is a great start! initiatives like this one are a great fire starter - they help put focus on the medium ands howcase how you can be creative with audio.
Q: What stood out for you about the work you reviewed and awarded?
A:I loved the pieces of work that were more than an ad. Whenever audio manages to mix in the 'ad' some behavior, culture, context, or engagement with the audience that piece will have a bigger impact. Loved to see some pieces here that did that.
Q: What Irish brands do you believe are pushing the creative boundaries in audio?
A:Wouldn't be fair to single them out!
Q: Are there gaps in the output from Irish creative agencies when it comes to audio? If so, what are they?
A:There is always room for better, not only in Ireland but in the world. As creatives. We need to keep our eyes on the ball all the time and never settle. Audio and radio are never 'just a radio' or 'just an audio' brief. As long as we start each brainstorm session with that filter we can make magic happen.
Q: With a culture of storytelling in Ireland, is there an opportunity for Ireland to make a real impact on the global stage when it comes to audio, being recognised at global awards for example? What needs to be done to achieve this?
A: 100%. I think I already answered the 'what' in the previous question
View from Gavin Little, Craft Juror Q&A
Q: How did the Irish audio standards compare or stand up against international standards?
A:The standard of audio being produced in Ireland is up there with the best - I do feel the creatives are often hampered by the creative briefs they receive and I hope that by highlighting the importance of creative audio, clients will take more risks with allowing audio creatives to be as creative as possible.
Q: What stood out for you about the work you reviewed and awarded?
A:Solid technical execution.
Q: What Irish brands do you believe are pushing the creative boundaries in audio?
A:Nonecome to mind.
Q: Are there gaps in the output from Irish creative agencies when it comes to audio? If so, what are they?
A:I think the need for better creative briefs and freedom is required.
Q: With a culture of storytelling in Ireland, is there an opportunity for Ireland to make a real impact on the global stage when it comes to audio, being recognised at global awards for example? What needs to be done to achieve this?
A: There should be a great opportunity for Ireland to shine on the world audio stage - again I think the need for better creative briefs and freedom is required.
Winners list
1: Casting
● Entry: Škoda Placenames
● Client: Škoda
● Entrant: Boys + Girls.
● Credits: Rory Hamilton, Chief Creative Officer; Jake O'Driscoll, Creative Director; Niamh Ryan, Senior Copywriter; Dean Ryan, Senior Art Director; Michael Whelan, Senior Copywriter; Jessica Stokes, Senior Account Manager; Sinead Higgins + Sára Benko, Account Manager; Conor Roche, Account Executive; Derek Doyle, Head of Production; Mutiny, Studio.
2: Copywriting Craft
● Entry: Škoda Placenames
● Client: Škoda
● Entrant: Boys + Girls.
● Credits: Rory Hamilton, Chief CreativeOfficer; Jake O'Driscoll, Creative Director; Niamh Ryan, Senior Copywriter; Dean Ryan, Senior Art Director; Michael Whelan, Senior Copywriter; Jessica Stokes, Senior Account Manager; Sinead Higgins + Sára Benko, Account Manager; Conor Roche, Account Executive; Derek Doyle, Head of Production; Mutiny,Studio.
3: Audio for Change
● Entry: Pride Vibes Radio-Ireland's first FM LGBTQI+ radio station
● Entrant: Wireless
● Credits: Sean Munsanje, Director; Brian McCarthy, Account Director; Grainne Ryan, Account Director; Sasha Hamrogue, Creative Director; Stephen King O'Farrell, Creative Director; Scott Williams, Concept; Chloe Finlay, Designer; Jessica Fay, Producer; Daniel Bridge, Editor; Lar Wright, Editor.
4: Use of Music
● Entry: Boys of the NYPD Choir
● Client: EPIC The Irish Emigration Museum
● Entrant: The Public House and The BridgeStudio
● Credits: Colin Hart, Creative Director; Mikey Curran, Copywriter; Sarah Walsh, Head of Strategy; Amon Drum, Sound Engineer.
5: Speculative
● Entry: Deeper Connections
● Entrant: Core Creative
● Credits: Anthony McDonagh, Copywriter;Lara Fagherazzi, Art Director; Nadia Karim, Creative Director; Liam Wielopolski, Creative Director.
6: Sound Design
● Entry: Halloween
● Client: TBWA / Best Drive
● Entrant: Mutiny
● Credits: Mark Richards / Mutiny, Sound Designer / Sound Mixer; Adam Crane, Concept; Alan "Danger" Byrne, Copywriter.
7: Broadcaster
● Entry: Gallagher's Grand Primera with Mick's Garage on Morning Glory with PJ & Jim on Radio Nova
● Client: Mick's Garage
● Entrant: Radio Nova
● Credits: Clint Drieberg, Producer; PJGallagher, Presenter; Jim McCabe, Presenter; Ann Boyle, Account Director;Gillian Purcell, Marketing Manager (Client).
8: Innovation
● Entry: Heineken Rival Billboard
● Client: Heineken
● Entrant: Publicis Dublin
● Credits: Ger Roe, Board Creative Director; Peter Dobbyn, Creative Director; Nick Doring, Associate Creative Director; Sinead Dennis, Business Director; Ruth McCormack, Group Account Director; Gemma Sherlock, Account Director; Niamh Skelly & Rachel Murray,Head of Production & Senior Producer; Wojciech Bogusz, Marketing Director(Client); Ronan McCormack, Marketing Manager (Client); Rachael Crawley, Senior Brand Manager (Client).
9: Consumer
● Entry: A Story Worth Telling
● Client: Eason
● Entrant: Dynamo
● Credits: Seán Timbs, Concept.
10: Grand Prix
● Entry: Boys of the NYPD Choir
● Client: EPIC The Irish Emigration Museum
● Entrant: The Public House and The BridgeStudio
● Credits: Colin Hart, Creative Director; Mikey Curran, Copywriter; Sarah Walsh, Head of Strategy; Amon Drum, Sound Engineer.
