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Make your brand unforgettable with humour!
Jacob Cass & Matt Davies sit down with branding expert Paddy Gilmore to explore how adding a dash of humor can make brands more relatable, engaging, and memorable!
Paddy shares his journey into humor-driven branding and why he believes humor is a powerful tool for standing out in today’s crowded market.
Discover when and where humor works best, along with Paddy’s step-by-step guide for crafting humorous copy that hits the mark.
From practical examples of brands nailing their humor to common pitfalls to avoid, Paddy shares insights that will help you use humor confidently and effectively in your messaging.
Tune in for actionable tips and real-world examples on using humor to connect with your audience—and learn Paddy’s top strategies for creating an authentic, funny brand that resonates.
If you’re ready to make your brand stand out, this episode is a must-listen!
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Transcript (Auto-Generated)
Hello, and welcome to JUST Branding, the only podcast dedicated to helping designers and entrepreneurs grow brands. Here are your hosts, Jacob Cass and Matt Davies.
I’ll see you there. Hello, folks, and welcome to this latest episode of JUST Branding. Today, we have, I hope, quite a fun and humorous session ahead of us.
Well, maybe not. We’ll find out. We’ll find out.
We’ll explore together because we’ve got Paddy Gilmour with us. Who is Paddy? Well, Paddy runs a consultancy that specializes in helping brands use humor in their communications.
He has reassured me that he is not a comedian. So if you’ve tuned in hoping for lots of cracking jokes, we may disappoint you. This is obviously from a marketing side and a positioning side for brands.
I’ve worked with Paddy on and off for the last three years on various projects, and I’ve always found him to be absolutely fantastic adding that human touch to a brand’s communications. Paddy has worked on some phenomenal brands in the past, including Harley-Davidson, Epson, Allied Irish Banks, and many, many more. So we’ll put all that to one side because frankly, we want to hear from you now, Paddy.
Welcome to the show.
Thank you very much. It’s great to be here. Thank you.
So I’ve given a bit of an introduction, but give us a bit of a potted history. Where have you come from and how have you got to this position of working with brands?
It goes back about 25 years. Basically, I did a master’s in history of art, and I was focusing on post-war conceptual art. So I was looking at people like Yoko Ono and these artists, and a lot of these artists use humor in their artwork.
So while I was studying my master’s, I looked into how they use humor and what humor is. I discovered a lot about humor mechanisms, and the philosophy of humor, and the politics of humor, and it just really interested me. Then somehow I found myself in advertising.
I did advertising for about 20 years, and I was always trying to do funny ads, because that was what I loved when I was a kid, when I was a teenager. Sometimes I would do them, and sometimes I would have bosses telling me, actually, we can’t do that. No, we can’t do that.
Then about three or four years ago, I thought, I think there’s a consultancy offering, and what I thought was all that knowledge I gained working advertising, and all that knowledge I gained theoretically through my masters, and all the reading I’ve done, it all came together, and I thought, there’s an offering here. Yeah, it’s been going really well. I work with clients around the world, with clients in Canada, Australia, America, all over Europe, and I do a lot of mixture of training, creative and strategy, and yeah, it’s going well.
I understand you’ve got a bit of a following in Eastern Europe?
Eastern Europe, yeah. I don’t quite know why or how, but Latvia. I was in Latvia twice last year.
I’ve been there once this year. I’m going back next week. So for some reason, I’m big in the Baltics.
So I’m cool with it.
Paddy, you missed a key spot, swapping from history to advertising. What happened?
Well, it was history of art. So I was looking at post-war art, essentially. So, I mean, the big figures were obviously Andy Warhol and Robert Rauschenberg and Damien Hirst and these kind of figures.
And so that’s what got me into advertising. But it was that humor thing that was always there. And it was the ads that I saw as a kid that I laughed at with the ads that I remembered and I remember now.
So that was the kind of the key kind of through line really.
So what was your first position in like the ad world?
Obviously, it’s a very difficult industry to get into. I found myself as a junior copywriter at Bloomberg. And yeah, that was an interesting first job because Bloomberg, Mike Bloomberg himself is a former banker and the company was very much set up like a bank.
It was quite corporate. You worked long hard hours. It was a pretty intensive training ground, but I enjoyed it.
It was fun. I learned the trade.
Brilliant. So let’s get into the subject, the meat of the subject now. So obviously, humor, how do you define humor, Paddy?
What is it?
There’s a number of different definitions. A very good one-sentence definition is humor is a form of social play. So essentially, in all civilizations around the world, there’s not one civilization that’s found to be without humor.
It is universal and it’s a very human trait. Another definition which I like and which has become quite fashionable, is something called benign violation theory. This is a theory that with humor, there’s a violation of some sort.
However, it’s benign. So once we realize it’s benign, we realize there is humor there. So if you were to get in your car to drive along the pavement, that would be a violation and it wouldn’t be benign.
Whereas if I tell you a joke, you can see a violation there. So if I say, for example, did you hear about the cargo ship carrying yoyos? It sank 44 times.
There’s a violation there, you see. It’s maybe not the best joke ever, but you can see the violation.
I like it, Paddy.
And it’s benign. And that’s what then kind of gives it humor.
I’ve got one, Paddy, I’ve got one. How many tickles does it take to make an octopus laugh?
I don’t know.
Ten. Ten tickles.
Oh, very good, very good.
Move on, move on.
Okay, let’s move on quickly.
Let’s move on quickly. No, no, I think you’re right. That’s interesting about the violation, because one of the things that I always think is helpful to me as a consultant is, well, I like to think it’s humor.
But if you’re trying to be funny or you’re trying to do it, it’s very hard. But the best thing I can kind of, the best way I, well, where I get a lot of laughs is when I’m self-deprecating, right? So that’s where I find like that’s that violation you talk of.
If you don’t take my own personality, I don’t take myself too seriously. And therefore, I quite comfortable taking the mic out of myself. And other people seem to laugh at that, which is frustrating.
But particularly Jacob, for example, like he’s laughing now, look at him. So this is the thing. So it is that violation.
But obviously, in that context, there’s a violation of self, but there’s no real pain. So therefore, it’s funny.
Yeah, exactly. Yeah. It’s a very, very interesting area, because up until the start of the 20th century, it really wasn’t studied that much at all.
And it wasn’t studied for two reasons. The first reason was people didn’t see it as being serious. You know, it was seen as just being a bit of a laugh.
And the second reason was people discovered that when you kind of lift the vomit and really look into nuts and bolts of humor, it’s actually quite complex. It is a very, very complex area because it looks at cognitive thinking, emotions, psychology, politics, lots of different areas. And then the big change came because Sigmund Freud wrote a book about humor.
And Freud was a huge influence. And then in the 70s and 80s, there was something called the Positive Psychology Movement, which was the notion that rather than psychology looking at what was wrong with someone, psychology should actually look at what’s healthy about people. And so they started to think, well, maybe having a good sense of humor was indicative of a positive psychology, of healthy psychology.
And that got a lot more interest. And now as an academic area, it’s flourishing. There’s a lot more interest in it.
Some fascinating thinkers, some fascinating papers coming out. So it’s really interesting.
So let’s shift it into the realm of brand building. I guess the biggest question is, well, why should a brand consider humor seriously? This is going to sound wrong.
Why should a brand consider humor seriously as a technique to use in their communications?
Basically, there are three core reasons. First is that it makes people warm to the campaign. The advertising campaign is being broadcast.
The second one is it makes people warm to the brand. The third reason is possibly the most important reason for any business, which is it makes people more likely to buy the product or service being sold. This is what gives humor its power.
When people dismiss it, these are typically the kind of things that I’ll say in response. Ninety-one percent of people say they’re more likely to remember a funny ad, which means it’s really strong. Seventy-two percent of people say they would choose a funny product, a funny ad over a rival product that wasn’t using a funny ad.
There’s a lot of evidence to suggest that this is really, really useful and it’s on this evidence that I based my consultancy and my work.
Yeah. I often think that, you mentioned Bloomberg earlier, but imagine quite a traditional brand offering a traditional service. Often, I find humor is a great way if they inject that into their communications to stand out, right?
To be different in a serious, stale, dusty category. Add a bit of humor in. I’m thinking, for example, if we’re going with banking, I know Monzo, for example, when they came on the scene, they completely blew everybody away with their witty communications and where they injected them in the customer journey.
I think that perhaps I would add another fourth one on there. I don’t know what your thoughts are on that in terms of distinction. What are your thoughts about using humor to distinguish a brand?
Definitely. It makes things a lot more distinctive, especially if a brand is selling a commodity. A great example of this is American insurance brands.
So if they’re selling car insurance, home insurance. Essentially, we don’t really want to think about it. We just want a good deal.
We want to know if, God forbid, something goes wrong, they’re going to be there for us. And then you’ve got brands like Geico who use humor along their adverts and they use it really effectively. Their ads have become fantastic because what they’re doing is they’re saying, right, it’s a dull subject.
Let’s use humor to get into people’s living rooms, get into people’s heads and get our name as a solid brand within people’s heads.
Yeah, absolutely. When it comes to my mind is spec savers, right? So it should have gone to spec savers.
I mean, that is a line and a half when you put it in the context of the campaign. So for the global audience, that’s spec savers that sells glasses, contact lenses and I think they even sell hearing aids nowadays. But the ads often depict somebody making a terrible mistake quite humorously, and the tagline is should have gone to spec savers, right?
So it’s quite an interesting positioning from their perspective amongst and they’ve cleaned up recently spec savers on our high streets, at least in the UK. So yeah, I completely agree with you. I think it’s a great way of adding that human element to any communications, even in quite a stale sector like buying glasses, but commodity based stuff, yeah, 100 percent.
I was going to ask about the opposite end of it, right? If you thought about categories that often use humor like think about beer, for example, there’s a lot of men’s humor in it. What’s your point of view on if every brand is using humor?
This is an interesting point because up until a few decades ago, there was this idea that humor could only be used by small luxuries, if you like. Beer, sweets, cigarettes, these kind of things, basically low priced treats, if you like. But then as time has gone on, humor has been used with more luxury brands.
Harvey Nichols have used humor extensively, and it’s also been used with brands that are selling quite high value items. So Volkswagen uses humor a lot. Now your typical Volkswagen is going to cost you, I don’t know, 20, 30, $40,000.
So this is where over the past few years, there’s been a lot more exploration as to where it can, where and how it can work. I think the only one area which humor isn’t used and isn’t really going to be used in future are high expense, high risk products. So if you run a skydiving business, you’re probably not going to use humor there.
However, there aren’t too many skydiving businesses out there in comparison to other businesses. So the potential in using humor is still vast.
Okay, so we’ve touched on why brands should really use humor. I guess the next question is how? You’ve mentioned obviously high risk situations and high value, not a great way to use it, but how would a brand begin to use it?
Let’s imagine we got a startup before us and we’re talking to the startup company. When should they use it and how should they use it? How do you recommend brands start to use it?
What I do, whenever I’m asking to a company, I talk about some human mechanisms. There are basically three core mechanisms, and these are the ways that humor is created. What I do with that company is find out what mechanisms work best for them.
Now, sometimes it’s a case that two or three might work together. It’s a bit like a good analogy, it’s like the periodic table of elements. Some elements stand alone, and some elements join up with other ones.
What I tend to do is I go through these mechanisms. I’ll give you an example of this. If you take the famous Tango ads, you know when you’ve been Tangoed.
Their form of humor is called supremacy humor. We laugh because someone else is the butt of the joke. There’s that guy there, this naked man, well, I don’t know, naked orange man, hitting people around the face.
Now, someone else is the butt of the joke, so that’s supremacy humor. That’s a specific type of humor. That might well work for a certain brand.
It might not work for another one. So what I do is I go through all the different options on the table and then say which would work best with your audience, your brand and your proposition. And that’s typically the starting point.
And from there, we can start looking into different styles, different examples of brands that have used a similar type of humor. Take it from there.
How many types of humor are there? Like you’re saying you lay different types of humor on the table. Are you explaining each of these to the client or like, can you share a little bit more about that?
Yeah, so we basically have three core human mechanisms. They kind of branch out into different kind of points. So that then turns into five.
Okay, so that’s the mechanism. And then you have, added on to that, you have humor styles, which is from psychology and that then kind of comes into this. This might seem, I’m not trying to blind you with science, but this is essentially the building blocks of humor.
One of the things which I, in a way, steer away from is talking about it as comedy. It’s not about getting a cheap laugh or a quick laugh. It’s about doing it thoroughly.
So when I’m working with a brand, they can really understand what these mechanisms are, how they work, and the best type of mechanism for them.
Okay. So I’m so curious now. You mentioned one like supremacy, but what are the other ones?
I don’t have time to go through them.
Yeah, by the way. So there’s supremacy humor, which is basically when someone else falls on a banana skin. Okay.
So someone else is the bottom of the joke, and you feel great because you’re superior. Okay. Then the next one is incongruity resolution, which is there’s an incongruity, and that’s resolved.
Okay.
So a good example of that is the joke I said earlier. So do you hear about the kagashi of karanyoyos? It’s sang 44 times.
It’s incongruous, but we resolve it in our mind. Okay. So Volkswagen used a lot of incongruity resolution in their ads.
The third type of humor is called arousal safety, and that is typically when we witness something quite taboo, and we laugh, it’s almost like a kind of nervous laugh. It’s like a release. Sigmund Freud, as you might imagine, was very much into this type of humor.
To him, that was the sole source of all the humor. But it’s not, but it’s a very, very powerful form of humor. A good way of talking about that is often like gross out humor.
That kind of thing. So those are the three core building blocks, and then these move in different ways, and they kind of bond with other ones in different ways. Sorry, I just blumbled less like humor.
No, no. I’m reading the next steps, and my thoughts is like, well, how do you apply this to a brand? What are your steps that you take them through for copy, I guess, would be the first part, I assume.
Yeah.
What I do is I talk to them about their audience, their previous advertising, their proposition, their brand, and I show them examples. The Economist is a good example of supremacy humor. Volkswagen used to have a great resolution.
Pampers use Arraser Safety, Arraser Relief. I will go through lots of different examples. It’s basically a question of, okay, what sits best for you?
One of the things I always find with presentations is companies, pretty much always, are really surprised at the range of humor out there. That’s the eye-opening moment, the jaw-dropping moment, because they realize, wow, there is so much more to this than we thought. There are so many different ways of being humorous.
This is what I try and show them. It’s like a sweet shop, and then they find out which one works best for them.
I love that, Paddy. I really love that. I think the thing for me is, what you’ve said, and we’re massive advocates, as you can imagine, of strategic approaches to brand building.
What you’ve said is, look, you’ve got to understand your audience first. You’ve got to understand the way you’re going to position your brand in front of that audience. Once those two things are understood, the value the audience is going to hopefully have in the brand and its proposition, then you can work out, okay, let’s explore humor to see whether that’s a great way of communicating to the audience.
And so it seems to me like if you can create a scenario whereby your audience understand the joke and it positions the brand in the midst of that, you’re on to a winner, aren’t you?
I think so, definitely, yeah. I mean, the alternative approach is that an advertising agency or a brand, they basically audit their audience and they discover, for example, that their audience like Schitt’s Creek or Ted Lasso. So they do it by their media diet.
And they then think, okay, on the basis of that, we need to have similar kind of humor to Ted Lasso. The problem is, though, that doesn’t help a team of creatives in an advertising agency. They’re like, well, what do they do?
What do they do with that? So what I try and do is to really get down to the building blocks. I show them lots of examples of advertising and marketing communications.
And this means they can really get a good overview of the entire field.
And you’re fantastic at that, Paddy. You know, I’ve worked alongside you. In terms of, like Paddy and I, just for the audience’s perspective, we’ve run training together, you know, based on usually a strategic approach, which I’ve headed up and then Paddy’s taken that on and, you know, just splitting it up into, as you call it, the building blocks.
I think it’s phenomenal. I was going to ask you about that. In terms of humor and brand, you know, tone of voice guidelines, what’s your kind of perspective on that?
Because I know you can and you have, in the past, crafted tone of voice. Have you found it a way of pulling the humor and the principles of the humor into that? And what’s your experiences have been like with that?
I think so. I think that, you know, typically, humor, you know, if a brand wants to integrate as part of their tone of voice, they can. But normally, there would be, you know, two, three or four other kind of pillars of tone of voice to go along with that.
So my concern there would be, okay, how does humor dovetail with those? How does it either gel with them or how does it contrast against them? So typically, that’s what I would do in that scenario.
But sometimes, a brand will come along to me and say, we want to use humor. We haven’t got anything in our brand book about how we should use it. Can you write our kind of humor brand strategy?
And that’s what I then think of. So it’s quite a kind of a separate thing there.
All right, let’s dive into that. So how do you develop copy, Paddy, that is humorous?
Well, in a way, this goes back to looking at mechanisms, to finding out what type of humor is best for that brand. So rather than being prescriptive, saying, okay, you do ABCDE, we look at lots and lots of examples, and then we decide the kind of humor type that we’re going to use. And then what we do is we then look at different kind of tactics within that.
So it could be understatement, it could be exaggeration, it could be irony, deprecation. There’s lots of different tools, if you like, from there. And we then kind of pinpoint it down and see what works best.
To give you an example of this, the economist, the famous economist, white hat and red campaign, their humor type was satire, and deprecation was their main tactic. Okay, so you have a phenomenal campaign. I think it went up, reshuffle of the magazine went up 64%.
Whilst the actual industry was shrinking, it actually soared. And it shows the effectiveness of a really good humor-based campaign.
I remember one of those ads is brilliant. It says something like, there’s like a big quote mark, as you see in the red background, white text, says, I never read The Economist.
Yes.
And underneath, in very small, it says management trainee, aged like 42 or something.
That’s it. That’s it.
Brilliant. It’s like, well, why are they still a management trainee? Aged 40 or something.
Exactly.
Ah, get it out. Brilliant.
Absolutely genius whoever came up with that. So brilliant. Okay.
So I guess it can also be quite a risk A kind of area, which I imagine is why a lot of brands, instinctively shy away from taking it that seriously. I guess they worry that there’s a high risk of upsetting or potentially offending somebody or a part of their audience. What are your thoughts on common pitfalls and is that one of them?
Yeah, it’s interesting. I read a study recently that said that 95 percent of senior management fear using human and their communications.
So they don’t have a sense of humor, do they?
There is a strong sense of fear. What I do is, as I was saying earlier, I talk about human mechanisms and we look at the building blocks. Now for each mechanisms, there are safeguards.
So what I then do is say, these are the safeguards you should use if you’re using these type of mechanisms, or this mechanism or these types of mechanisms. A good analogy, I think, is it’s a bit like if you’re going skiing and going cycling and going skateboarding, you’ll wear a different type of helmet for each activity. So it’s a similar thing with humor.
Whichever type of humor you decide to use, you need different types of safeguards to go along with it. So what I do is I talk about these and frequently, just in talking about it, we find the fears coming through and we can then address them. It is a huge area and it’s something that I find myself often talking to brands about.
But I can understand that. If it’s a massive multimillion dollar campaign, they want it to do well. I can completely empathize with that.
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I’ll see you there. I often find, don’t you think, I don’t know if this is… It’s often in the areas where people are scared to go, right?
That that’s where the greatest success will lie. Because if 80% of the other, you know, senior leaders in the other, in your competition companies or brands are thinking the same as you, like, oh, that’s quite risky, they won’t go there. And it’s those brave, kind of, you know, audacious risk takers that will say, you know, okay, I understand the logic, I understand the strategy here, I understand, you know, with as much audience testing as is feasible, that this should be successful, let’s go for it, you know?
And I think that’s what we need more of, brave brand leaders.
Exactly, exactly. And also, you know, humor science is so advanced now, we’ve got a very, very good knowledge of how a brand can use it safely, you know? So this is where, you know, our knowledge is such that we’ve got everything going for us as brands.
And so it’s a very good time to be thinking for a brand to be thinking about using humor seriously, because, you know, the safeguards are there, you know, and a lot of what I’m doing is communicating them.
So if a CEO or marketing exec would say like, oh, humor is not really on brand for us, what would you be saying to them or would you be asking?
I always find that phrase on brand a little bit funny one. And what I would typically do is politely answer that. I’d say, well, is it on campaign?
Because, you know, typically a brand will use humor in their campaigns, which is, you know, to me, there’s like a slight separation there. You know, a lot of what humor is about is performance. It’s about performing in a way that people, you know, warm to the product.
And a great example of this is if you take Queen, you know, Bohemian Rhapsody is a great product, a great song, but without Freddie Mercury’s incredible performance, it wouldn’t have been what it is, which is a great, great achievement. And so this is where I would kind of politely kind of, you know, kick against that.
It’s interesting, Paddy, that you distinguish, you know, from campaign, from brand, I guess, in a way, because one area I see a massive opportunity for brands to really express themselves and gain more loyalty is in, you know, customer experience, right? So Monzo earlier, they used to like, if they noticed someone who bought a little treat for themselves or something, they’d ping them, you know, on their iPhone or whatever, a little message would pop up saying they enjoy the ice cream or something. You know, fun stuff.
So the point I’m trying to make is that, you know, a lot of the time I find this huge opportunity for brands to distinguish themselves through the way that customers experience their product or service. And so whilst I completely understand what you’re saying around separating campaign, which is obviously usually around a specific product launch or something, you know, you’re trying to generate leads or generate sales in a particular way. I want to encourage all the brand leaders listening in to think about why, you know, why do it as well?
Like, yeah, try it in a campaign. If it starts working, right? Why wouldn’t you explore other areas of your brand?
Exactly, exactly. I mean, there’s a lot of potential there and it’s not solely devoted to the campaign at all. I mean, a great example of this is on, you know, Virgin Railways, Virgin Rail, where the Salt and Pepper crew had printed underneath, stolen from Virgin Rail.
So there’s a sense that, you know, they’re using humour there, you know, with their product. It is a wonderful, wonderful thing to encounter because it just shows so much warmth and humanity. You know, it’s great.
Particularly in stale, as I say, stale sectors. Like, I think it’s such a great, a great thing to inject in. Okay, well, look, let’s, let’s kind of get some tips from you then, Paddy.
Like, what would your top tips be? You know, let’s say we’ve got someone there, they’re like, right, I want to use some of this humour, what Paddy’s on about. How do I, how do I begin to kind of do it?
Give us some tips for using it.
Okay, the first thing I would say is, you know, put your fears and misconceptions to one side. You know, it is not about cheap laughs. It is not about a belly laugh, anything like that.
It is a very useful tool to use when building a brand. That’s the first thing. The second thing I think, I mentioned this a bit earlier, but I would say separate comedy and humour.
Yes, there’s a lot of vast amount of humour in comedy, but you know, when we’re looking at humour in an advert, you know, it’s quite a distinct thing for marketing communication or with a brand. And the third thing I’ll say is really research it, really talk to your audience, get a sense of your audience, get a sense of what kind of things they like, what they’re like, where your brand is and things like that. Those are the kind of the three starting tips I give.
Okay, right. I guess final thing is to figure out, well, how do folks get in touch with you if they wanted to?
Thank you.
I know you’ve got a great newsletter that goes out pretty much every week if I’ve got that route right. But how do people kind of connect with you and get more of this humour?
Sure.
Thank you. Well, my website is studiogilmour.com, and that’s all one will earn. It’s gilmore.com, and my sub-stack is called Brands and Humour, and I think that’s brandsandhumour.substack.com, I think.
It’s humour with a U, because the Americans spell it without a U. That goes out every week.
Those Americans, what can I say?
It’s not very considerate, really, is it? It’s not very considerate.
Not right.
It’s just not right. The language, what they have done to the English language, I do not know. But anyway, there we are.
Jacob, any final points from you?
This is brilliant. It was very insightful. Thank you so much for sharing your wisdom, Paddy.
Thank you, Jacob. Thanks very much.