‘Winning people over in today’s age of ‘woke’ advertising means you have to bring more than a great product or service to the table’: Grey Group COO

Nirvik Singh
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Updated 21 July 2020
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‘Winning people over in today’s age of ‘woke’ advertising means you have to bring more than a great product or service to the table’: Grey Group COO

  • Q&A with Nirvik Singh, global chief operating officer of Grey Group
  • Online retail, entertainment, and gaming sees massive global growth since start of COVID-19 pandemic

DUBAI: Grey veteran Nirvik Singh took the reins of the advertising group in September 2019 when he was appointed as its global chief operating officer – just three months before the first COVID-19 cases were announced.

Prior to that, he served as chairman and CEO of Grey Group Asia Pacific, Middle East, and Africa since 2016, a role he continues to fulfill.

Arab News caught up with Singh to discuss how the advertising business has been impacted this year and what the future holds for advertisers and marketers.

How has COVID-19 affected the advertising business?

COVID-19 has forced a rethink across all industries, and marketing and advertising is no exception.

Consumer behavior and purchasing patterns have changed considerably and some of them, probably permanently.

As lockdown measures were placed across the globe, most media channels, except digital, shrank almost instantly. The postponement of big sporting events, such as the Olympics, also had a significant effect.

Being agile has never been as important; brands have had to adapt quickly by following the consumer, which has meant prioritizing digital communications.

The online environment – including retail, entertainment, and gaming – has seen massive growth in consumption, and shoppable posts are becoming the dominant means of sales conversions for 2020 and beyond.

Brands will rely more on the concept of ‘walled gardens’ i.e. the digital platforms that combine paid advertising with e-commerce to drive sales.




With the need for people to stay home and stay safe, Panadol launched a CSR campaign to fight COVID-19 by asking people to embrace the new normal

What has the impact been on clients?

Industry sectors have been affected differently; marketing activity has held up relatively well in the fast-moving consumer goods (FMCG), tech and healthcare sectors, and it is within those sectors that the most significant changes in communication have taken place.

As people rely on the online world more than ever, marketers have leant heavily on digital solutions, accelerating the shift toward social media and online services.

E-commerce is booming, content creation that is more interactive and conducive to the customer experience is flourishing, gaming has reached previously unimaginable levels of consumer engagement, and the remote working ecosystem has gone from strength to strength.

Such rapid changes in consumer behavior and advertising spend throws up innumerable challenges, but also opportunities. It is how agencies respond to these challenges, and how well they adapt and embrace the opportunities, that will define their success for the future.

What are the clients’ top challenges at the moment?

Staying afloat and remaining relevant. Both are intrinsically connected. How does a brand remain an integral part of consumers’ lives in these unreal times? All clients will have to answer this question decisively. I would say it lies in brand purpose.

This is not just hearsay; it is backed by industry research. Harvard Business Review and Ernst and Young, for example, found that brands that operated with a clear sense of purpose outperformed the S&P 500 by a factor of 10 between 1996 and 2011.

Accenture Strategy’s recent global survey of nearly 30,000 consumers in 35 countries also found that 62 percent of respondents wanted companies to take a stand on issues such as sustainability, transparency, and fair employment practices. This is truer now than it has ever been as companies prioritize employee wellbeing and turn their attention toward the realization of a fairer, kinder, more sustainable world in the light of COVID-19.

 

During this time, how do you create ads that truly resonate with consumers and don’t come across as tone-deaf or pandering?

By showing awareness and empathy and, above all, being sincere.

Winning people over in today’s age of ‘woke’ advertising means you have to bring more than a great product or service to the table. Brands now need to have authentic stories with a social impact to make a connection and enjoy loyalty from their customers.

COVID-19 has only accelerated a trend that was already forming. Before the pandemic, environmental issues were at the forefront and climate activism was the movement that finally started to gain momentum, brands that are associated with a higher purpose, such as sustainability goals, are the ones that millennials have been gravitating toward.

Consumers want to know their brands of choice are there for them in difficult times and that they share similar values. Trust and authenticity are the keywords.

It is also possible to argue that it is our duty as marketers to provide both reassurance and solutions. That means brands being useful to the communities they serve and offering solutions that are supported by a real desire to help, and not just by looking after one’s bottom line.

Brands need to engage with their consumers in a relevant and purposeful manner such as when a car or house appliances manufacturer pivots its plant to make respirators, or a fashion house produces thousands of gallons of hand sanitizer. This shows their sincerity, where they talk the talk and walk the walk, supporting what they say not just with words but with actions that resonate with their customers. And we have seen brands step up.

 




As the world goes through a challenging phase, HSBC ensures its banking services are always within the consumer’s reach through its ‘Stronger Together’ campaign.

What initiatives have you taken to help employees and clients during this pandemic?

Our first priority was to secure the health and wellbeing of our staff – not just physical health but mental health too. It takes an adjustment to work from home and we needed to be cognizant of that.

We also had a duty to care for our clients by providing as much assistance and support as possible. That meant sharing knowledge and expertise via remote consultancy workshops, producing intelligence reports to keep them up to date with current insights, social media campaigns to raise awareness of the importance of play hygiene for young kids, and helping our clients produce work such as digital illustrations for social media to show appreciation of frontline workers or shooting a video for a client’s COVID-19-related campaign.

One of our employees also began making face shields for frontline workers and soon had the whole office involved. It is initiatives like this that remind us that an idea can come from anywhere, not just from creative departments and the importance of everyone pitching in to do what they can.

What tools did you launch during this time?

At Grey, we were already working toward collaborating remotely, irrespective of where our people were located.

A few weeks before COVID-19 hit, we launched a unique internal platform called go.grey. It has changed the way we communicate, share, collaborate, and work with each other.

Now, across our network, we have access to every person, deck, campaign, intellectual property, and published work from around the globe at our fingertips. It has made us agile and efficient and helped us to adapt to working in a borderless way. It is now very much a part of our culture and has proved to be a useful platform during these challenging times of working remotely.

We also spearheaded two projects which were developed and made accessible to everyone. The first is an interactive game that encourages young children to follow a hygiene routine and stay safe as they return to public places. Developed by the Grey Amea team and called “Keep Off,” it injected fun into what was an urgent conversation for parents and yet a tedious task for children.

The second was a real-time COVID-19 tracker developed by our digital and social arm, Autumn Grey. Providing data coverage across India, the tracker is available in all the local languages and dialects and provides updates and advice from government bodies, the World Health Organization, and medical experts. Engaging and innovative, both projects gave back to the community and allowed us to stay true to our “Famously Effective” banner.

What are some of the client efforts related to the pandemic that you have worked on?

There have been plenty, as you would imagine, during an unprecedented time of global upheaval, but I’ll focus on just a few.

Grey produced a campaign for HSBC called “Stronger Together,” which reassured customers that its banking services were always within reach, services especially needed in these challenging times.

In Saudi Arabia, Grey created a campaign for Panadol Cold and Flu to remind people that caring for one another does not change, no matter what the circumstances. We also crafted a campaign for Panadol Extra in Saudi Arabia and the UAE to put out the message to stay home and stay safe.

Lastly, the agency created a campaign for P&G’s Venus called “Self-Care Starts at Home,” which promotes the idea that one can look after oneself without always having to rely on others.




Grey MENA and Beirut’s campaign for P&G’s Venus shows how women can practice self-care at home as salons are shut during the lockdown


 What are your plans for the agency and to support clients now that the lockdown has been lifted in certain parts of the Middle East?

Most of our clients are already in a recovery mindset. The importance of rebound strategies and implementing marketing solutions to bring consumers closer to the
brand can help with a faster recovery. If there is anything we have learnt, it’s that authentic ‘brand purpose’, and effective ‘story-telling’ are both going to play a central role. This, supported with data analytics, intelligence reports, customer experience, e-commerce pivots, social and digital -will all be beneficial for our clients in determining the new patterns of demand and consumption and how best for them to bounce back in this new environment.
Finally, let’s also not forget the power of the big creative idea remains as potent as ever. We will continue to produce work that is ‘famously effective’ and sets us apart.
 
How do you foresee the rest of the year and 2021 for the advertising andmarketing industry?
 
I’m cautiously optimistic about the rebound.  Governments across the region are relaxing lockdowns, businesses are re-opening, and stimulus packages are boosting confidence as much as possible -while still considering safety. There is also a belief that recovery will happen at a faster pace than was first predicted. All brands now more than ever, will need to find shared values with consumers to gain their loyalty for the long term, and this is something we will see as an intrinsic part of the comeback plan for 2020-21 and beyond.
 
From an agency work perspective, there has been on-going activity, and things did not come to a complete halt. In fact, throughout this period, we have been pitching, interacting virtually with old clients, winning new clients, and have created campaigns that resonated well with the public. We were fortunate as our people adapted surprisingly well and quickly to remote working in these challenging times –  kudos to them all. No doubt there has been a slowdown and consumers are still quite cautious with spending. However, as lockdown eases, I think there will be a continuous and measured increase in demand, and consumption will start increasing as the population starts to gain more confidence and sees signs of economic stability.
I think this difficult time has given everyone pause to think of what matters and what is important, for people and the planet, and I am hopeful a better and kinder society will emerge from this crisis.
 


BBC asks senior music team to ‘step back’ from daily duties after Glastonbury row

Updated 04 July 2025
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BBC asks senior music team to ‘step back’ from daily duties after Glastonbury row

  • BBC said that it would no longer live-broadcast musical performances deemed “high risk”

LONDON: The BBC has asked senior staff overseeing music and events to step back from their duties amid a backlash over anti-Israel chants during Bob Vylan’s Glastonbury set, the broadcaster reported.

In a statement issued on Thursday, the BBC said that it would no longer live-broadcast musical performances deemed “high risk,” calling the editorial team’s decision not to cut the livestream “an error.”

During his act, the punk duo’s frontman, Bobby Vylan, chanted “Death, death to the IDF.” The BBC said that the band’s act was among the seven acts “deemed high risk” in advance and “suitable for live streaming with appropriate mitigations.”

“The team prioritized stopping the performance from featuring on-demand. This meant that no downloads of Bob Vylan’s set were available on iPlayer or Sounds,” the BBC said.

“However, the live feed, which was showing subsequent performances from other acts on the same Glastonbury stage, remained up until it was amended shortly after 8pm while teams worked on a technical solution.”

The broadcaster vowed to take action against “those found to be responsible for those failings in the live broadcast,” reiterating that there is “no place for antisemitism.”

British police said earlier this week that a criminal investigation was launched into the remarks at the festival in southwestern England.

The remarks drew controversy, with pro-Palestinian groups criticizing what they saw as selective outrage, highlighting the scrutiny over Bob Vylan’s chants against the IDF while atrocities in Gaza went largely unaddressed.

In a post on social media, Bob Vylan said: “We are not for the death of Jews, Arabs or any other race or group of people. We are for the dismantling of a violent military machine.”

The band noted that the backlash was “a distraction from the real story of the atrocities happening in Gaza. “Whatever sanctions we receive will be the distraction.”

The BBC has faced criticism from pro-Palestinian campaigners who accuse the broadcaster of pro-Israel bias in its coverage of the war in Gaza.

Last week, the BBC pulled the documentary “Gaza: Doctors Under Attack,” which featured first-hand accounts from Palestinian medical workers and investigated alleged attacks on hospitals and healthcare facilities in the enclave.

The broadcaster said that the decision was made because the film “risked creating a perception of partiality that would not meet the high standards that the public rightly expect of the BBC.”


Producer of dropped BBC Gaza documentary says broadcaster tried to gag him

Updated 03 July 2025
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Producer of dropped BBC Gaza documentary says broadcaster tried to gag him

  • In a post on LinkedIn, Ben de Pear said he declined to sign the BBC ‘double gagging clause’ multiple times
  • The corporation shelved ‘Gaza: Doctors Under Attack’ amid widespread criticisms over controversial decision

LONDON: The executive producer of a shelved BBC documentary on Gaza has accused the corporation of attempting to silence him over its controversial decision to pull the film.

Ben de Pear, former editor of Channel 4 News and executive producer of “Gaza: Doctors Under Attack,” said he was repeatedly pressured to sign what he called a “double gagging clause” that would have barred him and others from speaking about the BBC’s decision to drop the film.

“I rejected and refused to sign the double gagging clause the BBC bosses tried multiple times to get me to sign,” de Pear wrote in a LinkedIn post.

“Not only could we have been sued for saying the BBC refused to air the film (palpably and provably true) but also if any other company had said it, the BBC could sue us.

“Not only could we not tell the truth that was already stated, but neither could others. Reader, I didn’t sign it.”

Describing the film’s production as a “painful journey,” de Pear previously accused Tim Davie, BBC’s director general, of taking editorial decisions he was not qualified to make.

“All the decisions about our film were not taken by journalists, they were taken by Tim Davie,” he said at conference in Sheffield. “He is just a PR person. Tim Davie is taking editorial decisions which, frankly, he is not capable of making.”

He accused the BBC of “failing as an institution,” calling for Davie and the corporation’s senior leadership to step down.

While the BBC has not officially responded, The Guardian reported that sources close to the matter denied the broadcaster tried to gag de Pear.

One insider said the request was a standard clause requiring producers to seek BBC approval before promoting its content — a claim disputed by de Pear’s company, Basement Films.

The controversy comes amid broader criticism of the BBC’s handling of Gaza-related coverage.

This includes backlash over its decision to drop “Gaza: Doctors Under Attack” because it “risked creating a perception of partiality,” its refusal to broadcast a performance by Irish rap trio Kneecap — one member of whom faces terror charges — and its failure to interrupt the Glastonbury live feed featuring anti-Israel chants by punk-rap duo Bob Vylan.

On Wednesday, over 400 media professionals — including 111 BBC journalists — signed an open letter accusing the BBC of acting as “PR for the Israeli government” and calling for the removal of BBC board member Robbie Gibb, citing conflicts of interest and editorial bias.

The letter also questioned Gibb’s alleged role in the BBC’s decision to drop the Gaza documentary.

Before pulling “Gaza: Doctors Under Attack” entirely, the BBC said it had delayed the film’s broadcast pending a review of another program, “Gaza: How to Survive a Warzone.”

Channel 4 ultimately aired “Gaza: Doctors Under Attack” on Wednesday night to critical acclaim.


Hundreds of media figures accuse BBC of acting as ‘PR’ for Israel, urge removal of board member

Updated 02 July 2025
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Hundreds of media figures accuse BBC of acting as ‘PR’ for Israel, urge removal of board member

  • Open letter by media professionals, BBC staff say Gaza coverage ‘falls short’ of editorial standards
  • Sir Robbie Gibb, former chief of Jewish Chronicle, accused of ‘ideological allegiances’ to Israel

LONDON: Hundreds of media professionals, including over 100 current BBC staff, have signed an open letter accusing the broadcaster of acting as “PR for the Israeli government,” and called for the removal of BBC board member Sir Robbie Gibb over alleged conflicts of interest.

The letter, sent to BBC Director-General Tim Davie and the broadcaster’s board, follows a string of controversies — including the BBC’s live broadcast of anti-Israel chants by the punk-rap duo Bob Vylan at Glastonbury, and the decision to pull a commissioned documentary on Gaza.

“All too often it has felt that the BBC has been performing PR for the Israeli government and military. This should be a cause of great shame and concern for everyone at the BBC,” the letter stated.

The signatories — which include actress Miriam Margolyes, filmmaker Mike Leigh, actor Charles Dance, and historian William Dalrymple — claim the BBC’s coverage of Gaza “falls short” of its editorial standards and fails to reflect the reality on the ground.

The letter also raises concerns over the BBC’s decision to withdraw from airing “Gaza: Doctors Under Attack,” a documentary it originally commissioned, which will now be broadcast by Channel 4.

The BBC said it pulled the film because it “risked creating a perception of partiality.”

“This appears to be a political decision and is not reflective of the journalism in the film,” the letter stated. “This illustrates precisely what many of us have experienced first hand: an organisation that is crippled by fear of being perceived as critical of the Israeli government.”

Much of the criticism focuses on Gibb, a former head of the BBC’s Westminster political team and ex-spin doctor for Prime Minister Theresa May.

Gibb helped lead the consortium that purchased The Jewish Chronicle in 2020 and served as a director until August 2024.

The letter describes his position on the BBC board — including on the editorial standards committee —  as “untenable,” citing the Jewish Chronicle’s alleged history of publishing “anti-Palestinian and often racist content.”

The letter accuses Gibb of a conflict of interest and highlights what it sees as a double standard: “For many of us, our efforts have been frustrated by opaque decisions made at senior levels of the BBC without discussion or explanation. Our failures impact audiences.

“As an organisation we have not offered any significant analysis of the UK government’s involvement in the war on Palestinians. We have failed to report on weapons sales or their legal implications. These stories have instead been broken by the BBC’s competitors.”

The statement alleges Gibb has a “conflict of interest” which “highlights a double standard for BBC content makers who have themselves experienced censorship in the name of ‘impartiality.’”

The letter further stated: “In some instances staff have been accused of having an agenda because they have posted news articles critical of the Israeli government on their social media.

“By comparison, Gibb remains in an influential post with little transparency regarding his decisions despite his ideological leanings being well known. We can no longer ask licence fee payers to overlook Gibbs’s ideological allegiances.”

A BBC spokesperson said: “Robust discussions amongst our editorial teams about our journalism are an essential part of the editorial process.

“We have ongoing discussions about coverage and listen to feedback from staff and we think these conversations are best had internally.

“Regarding our coverage of Gaza, the BBC is fully committed to covering the conflict impartially and has produced powerful coverage from the region.”

The spokesperson added that in addition to “breaking news, ongoing analysis, and investigations,” the BBC has produced award-winning documentaries such as “Life and Death in Gaza,” and “Gaza 101.”


Paramount to pay $16 million in settlement with Trump over ‘60 Minutes’ interview

Updated 02 July 2025
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Paramount to pay $16 million in settlement with Trump over ‘60 Minutes’ interview

  • Paramount said the money will go to Trump’s future presidential library, not to the president himself

NEW YORK: In a case seen as a challenge to free speech, Paramount has agreed to pay $16 million to settle a lawsuit filed by President Donald Trump over the editing of CBS’ ” 60 Minutes” interview with then-Vice President Kamala Harris in October.
Paramount told media outlets the money will go to Trump’s future presidential library, not to the president himself. It said the settlement did not involve an apology.
Trump’s lawyer said the president had suffered “mental anguish” over the editing of the interview by CBS News, while Paramount and CBS rejected his contention that it was edited to enhance how Harris sounded. They had sought to get Trump’s lawsuit dismissed.
There was no immediate word from the White House about the settlement of the case, which Trump filed in Amarillo, Texas.
The case has been closely watched by advocates for press freedom and by journalists within CBS, whose lawyers called Trump’s lawsuit “completely without merit” and promised to vigorously fight it after it was filed.
In early February, “60 Minutes” released a full, unedited transcript of the interview.
Under the settlement reached with help of a mediator, Paramount agreed that “60 Minutes” will release transcripts of future interviews of presidential candidates, “subject to redactions as required for legal and national security concerns,” CBS News cited the statement as saying.
Trump, who did not agree to be interviewed by “60 Minutes” during the campaign, protested editing where Harris is seen giving two different answers to a question by the show’s Bill Whitaker in separate clips aired on “60 Minutes” and “Face the Nation” earlier in the day. CBS said each reply came within Harris’ long-winded answer to Whitaker, but was edited to be more succinct.
The president’s lawyer, Edward Andrew Paltzik, said that caused confusion and “mental anguish,” misleading voters and causing them to pay less attention to Trump and his Truth Social platform.
Paramount and controlling shareholder Shari Redstone were seeking the settlement with Trump, whose administration must approve the company’s proposed merger with Skydance Media. CBS News President and CEO Wendy McMahon and “60 Minutes” executive producer Bill Owens, who both opposed a settlement, have resigned in recent weeks.
The Freedom of the Press Foundation, a media advocacy group that says it is a Paramount shareholder, has said that it would file a lawsuit in protest if a settlement was reached.
In December, ABC News settled a defamation lawsuit by Trump over statements made by anchor George Stephanopoulos, agreeing to pay $15 million toward Trump’s presidential library rather than engage in a public fight. Meta reportedly paid $25 million to settle Trump’s lawsuit against the company over its decision to suspend his social media accounts following the Jan. 6, 2021, riot at the US Capitol.


Asharq to bridge US-Arab divide with new Arabic politics podcast

Updated 02 July 2025
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Asharq to bridge US-Arab divide with new Arabic politics podcast

  • America Bi Lahjetna (“America in Our Dialects”) is the first journalist-led Arabic-language political podcast produced in the US capital
  • Hosted by Hiba Nasr, Zena Ibrahim, Kareem Yousry, and Azouz Allilou, the show dives into American political developments with fresh, localized insight

RIYADH: From the heart of Washington DC, Asharq Podcasts launches America Bi Lahjetna, which translates to “America in Our Dialects”, the first journalist-led Arabic-language political podcast produced in the US capital. The show delivers weekly episodes that bring American headlines closer to home, in a voice that speaks directly to the region. 

Hosted by Hiba Nasr (Bureau Chief), Zena Ibrahim (Reporter and Producer), Kareem Yousry (Reporter and Producer), and Azouz Allilou (Reporter and Producer), the show dives into American political developments with fresh, localized insight. Each episode moves beyond the headlines to draw meaningful connections to the realities, concerns, and interests of Arab audiences across the region — precisely when and where it matters most. 

In line with growing demand for content that feels less formal, simpler, and more conversational, America Bi Lahjetna moves away from traditional news delivery. Instead, it offers a smart, approachable format that reflects how today’s audiences, especially younger listeners — consume political content: through relatable voices, contextual storytelling, and accessible language. 

“This podcast isn’t about translating the news, it’s about explaining why it matters to us,” said Hiba Nasr, Asharq’s Washington Bureau Chief. 

“Every week, we unpack the headlines that dominate the American conversation and connect them to the Arab world, politically, emotionally, and strategically. From our base in Washington, we bring clarity to a chaotic media landscape and give our region both a window into and a voice within US political discourse. That’s what makes America Bi Lahjetna different. We’re not observers. We’re participants.” 

In its first episodes, the team breaks down some of the most pressing stories in US politics, offering Arab audiences’ critical context often missing from international coverage, and linking Washington’s decisions to their regional implications. 

America Bi Lahjetna is now streaming on YouTube and Asharq NOW.