In an era where smartphones often steal the spotlight at live events, Heineken has taken a bold step to reclaim the magic of live music with its innovative "Boring Phone" campaign. Through a clever use of infrared technology, this groundbreaking initiative delivers hidden messages visible only through phone cameras, encouraging concertgoers to put their devices down and fully immerse themselves in the moment.

From conceptual sparks to the high-stakes production process, the campaign is a testament to creative ingenuity and Heineken’s commitment to fostering authentic social connections. In this exclusive interview, we delve into the vision, challenges, and remarkable collaboration behind this captivating activation.

Interviewee names and job titles

Sol Ghafoor - Chief Strategy Officer at Le Pub

Andrey Tyukavkin - Head of Creative Innovation, LeGarage

Mauro Mazzei - Global Head of Creative Technology, LeGarage

Vittorio Cafiero - Head of Innovation and Digital Production, LeGarage

What was the brief? Sol Ghafoor - Chief Strategy Officer

For 150 years, Heineken has been about more than just beer – it's about creating good times. As Freddy Heineken once said, "I don't sell beer, I sell good times."

But today, distractions are stealing those moments, and we're on a mission to bring them back. Enter the Boring Phone campaign: with a device designed without many features that distract us from the moment.

The brief was to extend this campaign platform and mission to live music. Concerts today are dominated by smartphones, with people recording memories rather than living them—something even artists and DJs are calling out. Our research showed that 41% of Gen Zers and Millennials feel frustrated seeing a crowd of phones at concerts, and 35% admit they check their phones more than they should when socializing.

So, we wanted a new and inventive way to get our message across so people wouldn't miss out on good times at concerts.

How did the initial pitch/brainstorming phase go? Sol Ghafoor - Chief Strategy Officer

It began with understanding how people engage with their phones at live music events. Often, the most powerful moments end up being recorded on screens instead of being experienced firsthand—we’ve all seen the sea of phones lighting up the crowd.

This inspired us to find a way to disrupt that pattern. While typical approaches, like QR codes on billboards, only keep people tethered to their screens, we wanted to encourage them to put their phones away, even if just for a moment. So, we had to think differently

What was the process behind ideating the concept? Sol Ghafoor - Chief Strategy Officer

We realized the most disruptive way to deliver our message was directly on the phones themselves, aimed precisely at those recording through their cameras. This led us to a question: What can only be seen through a phone?

Through research we discovered that infrared light, invisible to the naked eye but visible through a camera lens. With this fact, our idea took shape: what if we could deliver a hidden message, visible only to those watching through their screens, nudging them to put down their phones and fully soak in the experience?

What was the production process like? Vittorio Cafiero - Head of Innovation and Digital Production, LeGarage

The process was highly iterative. We knew that infrared light could be picked up by most cameras, and by almost every smartphone. From there we started experimenting with regular lights, reflective IR films, IR absorbing paints.

The first results were not promising, therefore we changed our approach and embraced direct lighting, similarly to led-walls technology where users are exposed to the source of light, in this case LEDs. LEDs do not emit IR light, though, so we had to find diodes that did. The “illuminating” solution came from the security world, where IR illuminators are used to shed light in dark areas for CCTV.

By combining IR illuminators as a direct source of light and large acrylic masks on the front of them, we were able to shape the messages that fans at Live Out and ADE’s opening party enjoyed.

What was the biggest challenge during production? How did you overcome it? Vittorio Cafiero - Head of Innovation and Digital Production, LeGarage

Sourcing the correct electronics in the quantity needed for our two installations, one in Mexico and one in The Netherlands, and within our timeframe, was by far the greatest challenge. Even though IR illuminators are consumer products available on platforms such as Amazon, their scarcity posed a threat to the actual delivery of the project.

In Mexico, for example, we received the electronic supplies 15 hours before the festival gates opened, leading crews to work non-stop all night for assembling and fine-tuning the installation.

What kit/tools/software were used to create the project? Vittorio Cafiero - Head of Innovation and Digital Production, LeGarage

The structures we created were totally custom, and were different in size, with the Mexico one being twice as big as Amsterdam’s. While the former was sitting on the stage, the latter was hanging above the DJ booth, so we had to take into account weight reduction, and opted for laser cut aluminium frames, a custom energy distribution system that focused on optimizing heat dissipation.

What is one funny or notable thing that happened during production? Vittorio Cafiero - Head of Innovation and Digital Production, LeGarage

With electronic supplies being delivered late in the evening, the crew in Mexico worked relentlessly all night and finished the fine-tuning at 6:58AM, just two minutes before choreographers and sound technicians began the sound check.

What’s the main message of this project and why does it matter? Andrey Tyukavkin - Head of Creative Innovation, LeGarage

Concerts are for people, not for the phones. After all, you arrive at a show with one goal: to enjoy the incredible energy created between the artist and the crowd. It is a highly social setting, and the phones are clearly becoming an obstacle.

We simply reminded music fans that only humans can generate and sustain this passion — and phones instead can take a little rest, switching them into a boring mode that won’t distract you from the show.

How long did it take from inception to delivery? Andrey Tyukavkin - Head of Creative Innovation, LeGarage

The Boring Phone / Boring mode platform is being developed since January 2023, launched in April 2024, and is still an ongoing activity on many markets. This “Infrared hijack” was one of the ideas conceived around end of summer 2024 as an amplification tool, and the hardware part was implemented over just 3 weeks prior to launch. It was very intense.

Can you describe the creative spark or inspiration behind the initial concept? Was there a specific moment or insight that ignited the idea? Andrey Tyukavkin - Head of Creative Innovation, LeGarage

The idea “Concerts are for people, not phones” required us to find something that, in contrary, is seen only by phones and invisible to the naked eye. Infrared tech, a “boring” technology from the last century, and so common to be found in everyone’s TV remotes at home, solved that and made the idea even more aligned to the already existing world of The Boring Phone.

How did you ensure that the concept aligned with the brand's values, goals, and target audience?  Sol Ghafoor - Chief Strategy Officer

Heineken champions social life, and in today’s world, digital distractions—especially from smartphones—are some of the biggest barriers to enjoying good times in IRL. Live music, one of our core pillars, is the perfect stage for us to inspire real connection and good times. We want our audience to live in the moment, not just record it.

Were there any alternative concepts or ideas considered during the ideation phase? If so, what led to the selection of the final concept? Andrey Tyukavkin - Head of Creative Innovation, LeGarage

The activation was paired with many other acts around The Boring Mode and The Boring Phone, amongst which offline treasure hunts to have people “find” their Boring Phone, lockers in festivals where people could lock their smartphone and get a Boring Phone in exchange, camera stickers to discourage people from filming whole gigs, and a broader set of assets made to bring light to the issue of phones being too distracting for social life. But the good ones we’re not telling you because we’re gonna get them out soon :) 

Can you discuss any collaborative or interdisciplinary aspects of the ideation process, such as working with other departments or external partners? Andrey Tyukavkin - Head of Creative Innovation, LeGarage

This innovative concept was brought to life through a collaboration between Le Garage (Le Pub's innovation hub) and two key partners: Roma 212 Creative House from Mexico and Zero from Milan, Italy, for Amsterdam’s installation. It required great collaboration between the agency and Heineken. It was a globally driven initiative that found its way to most relevant markets and artists. 

What role did consumer research or market analysis play in shaping the concept and its execution? Sol Ghafoor - Chief Strategy Officer

Our dedicated team, the Data & Culture Lab, dives deep to unearth unique insights for every brand we support. Each brief is driven by consumer and cultural data to ensure our strategies and ideas resonate with our audience. For this campaign, we conducted in-depth research across key markets and engaged in ethnographic studies to understand how people truly behave.

Can you discuss any unique or unconventional production techniques or approaches used to bring the idea to life? Mauro Mazzei - Global Head of Creative Technology, LeGarage

In our way of working, the internal tech and R&D departments are involved from the idea-creation stage. This allows us to develop early-stage prototypes from the very first presentation. It’s a cross-department collaborative approach that speeds up the validation process and feasibility checks.

With a solid understanding of the technology and possible execution, working with external partners becomes much easier. We’re able to share initial concepts, code, or knowledge as a starting point to avoid pitfalls and accelerate production.

How did you ensure that the concept remained innovative and stood out in a crowded marketplace? Andrey Tyukavkin - Head of Creative Innovation, LeGarage AND Mauro Mazzei - Global Head of Creative Technology, LeGarage

The innovative nature of this projects stems from the simplicity of the tech used. Many of us have been in briefs where it was desired to make a message “appear” on smartphones, but up until now we’ve been dependent on QR codes and web apps to let that happen.

The implementation of infrared tech to “hide” messages for phones in crowded spaces is a step forward for the whole industry, while simultaneously being perfectly on strategy for Heineken, as yet another way in which “boring” tech can help improve social life.

What do you hope it achieves for the brand? Sol Ghafoor - Chief Strategy Officer

We want our audience to see the brand as a true enabler and champion of social life, by bringing people together and enhancing their shared music experiences in a unique and inventive way, over a Heineken of course.

Credit list for the work? 

HEINEKEN Global  

Sr. Director Global Heineken® Brand: Nabil Nasser 

Heineken® Global Communication Director: Daniela Iebba 

Heineken® Global Digital Director: Rob van Griensven   

Heineken® Global Communication Manager: Guilherme de Marchi Retz 

Heineken® Global Head Digital Consumer Innovation: Natacha Volpini 

Heineken® Global PR Lead: Jonathan O’Lone 

Heineken® Global Brand PR Manager: Joseph Brophy

Heineken® Global Business Specialist: Colleen Muller  

LE PUB

Global CEO LePub, CCO Publicis Worldwide: Bruno Bertelli  

Global Chief Creative Officer: Cristiana Boccassini

Chief Creative Officer: Mihnea Gheorghiu

Executive Creative Director: Andrey Tyukavkin

Executive Creative Director: Eoin Sherry

Executive Creative Director: Felipe Ferreira

Executive Creative Director: Gaston Soto 

Creative Director:Corina Patraucean

Creative Director: Rainor Marinho

Creative Director: Marie Poumeyrol

Head of Art: Andrea Ferlauto 

Associate Creative Director: Valentino Borghesi 

Associate Creative Director: Geo Joseph

Art Director: Christopher Jones

Art Director: Flavia Conti

Copywriter: Cristiana Candido

Junior Art Director: Peter Sjo

Global Head of PR & Communication: Isabella Cecconi

Senior PR Manager: Eleonora Botta

Global Head of Creative Technology: Mauro Mazzei

Head of Digital Production: Vittorio Cafiero

Digital Producer & Project Manager: Kejsi Haxhi
Chief Strategy Officer: Sol Ghafoor

Global Client Service Director: Shirine Aoun

Global Client Service Director: Ilaria Castiglioni

Account Director: Rossana de Rosa

Account Director: Gonzalo Gutierrez

Account Executive: Candida Franchi

Account Junior: Clara Boggia

Chief Production Officer: Francesca Zazzera

Head of TV Production: Anna Sica

Post-Producer: Margherita Fonseca 

Editor: Claudio Roveda

Videomaker: Tommaso Bianchi 

Production House Amsterdam: Bandit Productions 

Producer: Lio Dijkman

LE PUB MX

Chief Creative Officer: Aldo Rámirez 

Chief Creative Officer: Ricardo Aviles 

Creative Director: Marco Garcia

Creative Director: Juan Pablo Balcazar 

Art director: Nestor Franco 

Senior Copywriter: Pedro Pablo Bergelund

Managing Director: Almudena Blanco 

Account director: Nataly Gañan 

Senior Account Supervisor: Daniela Peridgón 

Production Director: Roberto Collazo 

Production Manager: Lizeth Torres

Productor: Ana Galván 

Productor: Lizeth Pérez

THE ROMANS

Director: Kate Brazier 

Senior Account Directors: Sophie Lambert-Russell, Andy Ruscoe