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“El Madrileño”: How to build a massive, relevant and contemporary brand?

03/11/2021| Camila Mohr y Juan Ibañez| 10 min


The recent release of El Madrileño, the new album by C. Tangana, reflects the strategic considerations that we must take into account today when building a contemporary, relevant and mass brand.


The album consolidates the new “hows” of communicating, innovating and activating in the contemporary market: global collaborations, inclusion of diverse generations, hybridisation of categories, a fluid perspective on origin, a way of segmenting by interests and a new look at innovation.


Why should I read this?

Because we are facing a new reality in which people demand changes, truth and value in the way brands do things. It is no longer enough just to say something, instead it has become imperative to act differently and relevantly.

What are we talking about?

El Madrileño, the new musical proposal —not merely an album— by C. Tangana is a success story about the new “hows” for brands and companies in any industry and category, as the artist managed to get seven of his songs into the Top 10 and the album as a whole into the Top 50 in Spain in just 24 hours.

  • Global partnerships: an album with collaborations that highlight a subjective view of the essence and truth of Madrid as a multicultural city and that enable a credible entry into different markets through the local “collaborator”. Each song presents a different contribution, with various artists representing the reality of Madrid and the world: Cuba, Argentina, Uruguay, Brazil, Mexico, the United States and France, among others.
  • Transversal across all generations: it involves transgenerational inclusion, with contributors of all ages. In fact, the album combines collaborations from artists that bring freshness and novelty, such as Ed Maverick and Omar Apollo (20 and 22 years old, respectively), with those of established musicians who offer a perspective based on their experience and consolidated style: Kiko Veneno, Eliades Ochoa, José Feliciano, Toquinho and Andrés Calamaro, among others.
  • Category hybridisation (genres and sounds): just as a brand decides to explore and innovate in other categories beyond its usual territory, El Madrileño does this through a multiplicity of genres and sounds. From trap (the artist’s roots and the genre most familiar to him), to folk, pop, flamenco, rock and roll, bossa nova, bachata, funk, son, copla and paso doble.
  • Fluid perspective on origin: it creates a new perspective on what origin means. It is no longer about “place of birth”, but about the space in which to share, coexist and identify with a single place: “Madrid belongs to everyone”.
  • A way of segmenting by interest: a summation of careful decisions that build an equally attractive comprehensive proposal for very diverse audiences. The collaborations, the sounds, the audiovisual, the graphic expression and the diffusion are replete with nods to those more niche consumers, while continuing to be a value proposition with ambition and massive results (dominating the most listened to playlists on Spotify in Spain).
  • Innovating on innovation: a new perspective on the importance of proposing new things, not as something exceptional and static in time, but as a constant, agile proposal without fear of getting it wrong.

In short, a lesson on strategies that demonstrate the importance of having a solid positioning and a brand truth that serves as a compass for thinking of new “hows” when innovating, communicating and extending a value proposition in a contemporary way.

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