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Edition No. 114 June 25 – July 1, 2016
Unearthed by Triple J, singer-songwriter Montaigne has passionate fans, a promising future, and a glorious, if temperamental, voice. By A. H. Cayley.
Montaigne hits the high notes
Credit: CAMERON JUSTICE
They're sound-checking the drums ahead of tonight's soldout show at Newtown Social Club in Sydney, so loud you have to wonder what it's doing to your hearing. The sound guy is trying to counteract a wall that to the trained ear apparently buggers up the acoustics, so the bass drum goes on and on. Yet even through this sonic assault of thumps and amplified check check, yeah yeah, uh-huhs, and despite the considerable distance from the back room at the end of a long, curtained corridor, you can hear her voice. Jessica Cerro, the 20-year-old pop musician known by the stage name Montaigne, is warming up.
Starting with a single siren sound – deep to high, down to deep again – she cuts through like an ambulance trapped in King Street traffic. She moves on to scales as the check check yeahs continue, again starting low, then rising higher and higher with each set of seven, until an unfathomably high note catches jarringly in her throat. She pauses, tries again, hits it, and moves on.
Cerro got her start at 16, as a finalist in Triple J's 2012 Unearthed High competition. Initially, the plan was that she would aim for a university scholarship on the back of her ability as a gifted soccer player, and her mother suggested she sing something in the video reel to show she had many talents. She told her parents she had written her own song – a surprise to them – and they had it recorded in a friend's bedroom studio. "The day we got it back, I was kicking the ball against a wall outside my parents' room, and it went straight through their window and broke it. And then my dad comes out, crying, and he's like, 'The song's so good!' I was like, 'Good… but I just broke the window?' And he was like, 'It's fine! The song's so good!' "
Under her parents' guidance, her focus shifted to music. In 2012, Cerro signed a publishing deal with Alberts music rights management company. In 2014, at age 18 and before her first EP had been released, her single "I Am Not an End" was placed on high rotation on Triple J. It became the 36th most played song on the station for that year. Following the release of her EP, Life of Montaigne, later in the year, her single "I'm a Fantastic Wreck" again received high rotation on the national broadcaster and was the eighth most played track on Sydney's FBi Radio. She then won Next Big Thing for 2014 at FBi's annual SMAC Awards. "I hear a lot of music in the course of my day-to-day job," says Stephen Goodhew, FBi's music director and the man who decides what makes it to the playlist. "And every now and again there's just a voice that stands out a long way. Montaigne was one of those voices. It is just so far beyond what everyone else is doing that it just jumps out at you and it's just so gratifying to hear. She does this very anthemic type of pop, which not a lot of people in Australia do. It's very big, it's very grandiose and cinematic, and really it's carried by the incredible range of her voice. It wouldn't be anywhere near as good if it wasn't her singing it."
"I'm made for the stage, I love being there. I don't get nervous at all. I anticipate it eagerly, and things are always fine when I'm on there."
But at the end of last year, while recording her debut album, the voice on which she has built her career began to betray her. "We had to hit this song called 'Glorious Heights', the title track of the album," she tells me. "The chorus is pretty full on, and basically by the end of that my voice was gone. It was obliterated. And after that it took ages to get better, and I started feeling pain whenever I spoke. I couldn't speak without it hurting."
Her management eventually sent her to a speech therapist, and she was diagnosed with a hyperfunctional voice disorder. It was explained to her that at some point she had changed the way she spoke and then got trapped in that pattern, vocalising from her throat instead of her head and chest. Ironically, she believes this change occurred while speaking over the crowd at an awards night where she was nominated for NSW Voice of the Year.
"I was freaking out. Especially with the album, because the album vocals are fucking insane, dude. Stupidly, I wrote all the songs in a high register. I actually don't think my range comfortably sits up there – maybe it does now, but when I'm not in touring season and not using my voice as much it's harder to get there. So for the album songs I was like, 'Shit. I can't sing properly. It hurts to sing. It's hard for me to get up there. How am I supposed to fucking tour with this? I will one day be doing long runs of shows for maybe a year at a time, not short tours like I'm doing now.'
"I identified with having a strong, powerful voice that has a huge range, and [thought], 'Now I can't use it to its full capacity because it's hurting. And I can't go out and socialise, which I enjoy doing, because it's too risky to talk all the time and I keep losing my voice.' "
Under the tutelage of her speech therapist, she learnt how to retrain her voice and how to warm up, which she now does every day. "In between the first two sessions I also had a singing lesson. I'd never had any before, so I didn't know how to warm up. I do now. I needed to go and figure out how to warm up and sing properly.
"Part of it was that I was putting too much tension in the muscles in my neck and around that area. You need to relax that. And I always say, onstage is where I'm most comfortable – I'm made for the stage, I love being there. I don't get nervous at all. I anticipate it eagerly, and things are always fine when I'm on there. I always sing my best and my strongest when I'm on stage, and so it's kind of playing into that stress and tension thing – on stage I feel calm and relaxed; I'm doing my thing and I enjoy it. Then when I'm offstage, I'm kind of thinking about how I'm speaking. For some reason all inhibitions go away onstage and it isn't a problem. She said basically, 'We just need to get you to talk the way you sing onstage.' And then we fixed it. But that was a really scary time for me … it genuinely terrified me."
Listening to Cerro sing now in the dining room of her Surry Hills sharehouse, it seems the debacle was a blessing in disguise. "Absolutely. I never warmed up properly and now that I have, my range is even better and my head notes are much clearer. I kind of wish this had happened before I was recording the album vocals because now I could have done all of that better. So it's pretty fun now. Although it's funny because now that I've rediscovered this power in my voice and this comfort, these past three nights the reason my voice is fucked is because I just went so hard out in the shows."
Cerro's producer, Tony Buchen, who has worked with Tim Finn, The Preatures, Megan Washington and Ronan Keating, says she is the best artist he has ever worked with in terms of warming up. "She knows what she's doing and she does the work. She goes in there for an hour. Before I'd arrived, she'd be here already on the piano warming up, every day. It sort of feeds into that thing about her that she's up for the work. She just works so fucking hard. To the point where I often say to her, 'Did you have any fun this week?' "
Onstage, she certainly does. The Newtown Social Club gig is remarkable: one of those moments where you can tell something extraordinary is taking place. Cerro's audience doesn't just woo or cheer – they scream. Every song, they scream. Every bit of banter, they scream. "My album should be coming out midyearish." Screams. "This next song's from my EP." Screams. "If you haven't heard it, you can buy it tonight." Even that gets screams. They cry out in anticipation of every song, recognising each from the very first note. Cerro has not released an album yet.
Stranger, though, is that it's hard to pinpoint the demographic. Very young women, rather young men. Older academic types, older rock dog types. Mums and uncles. Someone's dad. Super buff jocks. Arts students. The types who say they love Triple J and the types who proudly sneer that they don't. The painfully hip and the painfully not are both in this room in equal measure. A straight couple in their late 30s make out near the stage. A lesbian couple in their early 20s clasp their hands together in the air. A girl who almost certainly used a fake ID to get in spills her vodka cranberry on my shoes.
Above it all, under the blue stage lights, Cerro is an exquisite performer, effortlessly carrying these huge vocals into the room without a hint of prior concern. She moves like a tense marionette, supremely present, physicalising each word as her petite hands draw from them every ounce of meaning. She has her crowd hanging on every note. It's like watching a boxer execute a perfect rope-a-dope. It's thrilling.
"I think she's just one of those artists," says Buchen. "It comes down to the voice. The voice that she has is inescapable and I think some people who have heard it just want to be involved, they just want to know the story, and they pursue her. They'll see the gigs; they'll listen to every song. So I would assume her voice is just cutting through across boundaries.
"For me it's not as much about technique as something else – something that's not quantifiable. Is the voice coming from a place that is direct? Is there less bullshit along the way between the intention and what you're hearing? And with some singers you just immediately get that, and it's that thing where you just look around the room at each other and go, 'Yep. It's the real deal.' And she has that in spades.
"But what separates her is not just the voice but the lyrics. She's just on another level to anyone out there, to me. There's a lot of throwaway out there, lyrically – people are chasing a sound, because a song with a sound can get you somewhere. But I think she's interested in far more than that. She's interested in saying shit; she's interested in changing minds and influencing people. And clearly she is."
Cerro invites Buchen onstage to play the guitar line he wrote for her hit single "Clip My Wings". In a sad voice, she says he's moving to Los Angeles soon. The audience sighs and coos with her. They've never met the guy but now they'll miss him, too. "You guys love her, right?" he asks. They scream, of course.
She blasts out every note, they finish the song, and Buchen says a farewell. "The future of pop music," he says, "right here." The screams are deafening.
Cerro ends by saying she'll be at the merch desk afterwards to say hello to everyone, take photos, sign autographs. I wonder how long she'll be stuck there, and if after all the meet-and-greets her voice will be strong tomorrow.
This article was first published in the print edition of The Saturday Paper on Jun 25, 2016 as "Big notes". Subscribe here.
A. H. Cayley
is a writer and broadcaster.
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Edition No: 261 July 13 – 19, 2019
The reality behind Morrison's tax cuts Mike Seccombe
Murray–Darling recovery in peril Karen Middleton
The rise of building defects Debra Jopson
Queensland mining industry reckons with spate of deaths Dennis Atkins
Jeffrey Epstein and his famous friends Richard Cooke
Violence compounds DRC Ebola outbreak Jonathan Pearlman
What Scott Morrison's faith means Tanya Levin
Scott Morrison, prayers and Hillsong Paul Bongiorno
Gadfly: Gus's power play defused Richard Ackland
Letters & Editorial
Section 116 Maxine Beneba Clarke
A matter of respect
Tax there for the taking
Artist Michael Armitage Neha Kale
Material Place and The Gas Imaginary Patrick Hartigan
Booksmart Giselle Au-Nhien Nguyen
Writer and activist Lamisse Hamouda Magan Magan
On Earth We're Briefly Gorgeous Reviewer: Josephine Rowe
The US Lobby and Australian Defence Policy Reviewer: Hamish McDonald
Nganajungu Yagu Reviewer: Raelee Lancaster
Mont blanc David Moyle
Dementia and the ageing brain Sophia Auld
Lisa Alexander sets Diamonds for World Cup Cindy MacDonald
In Earth's inner layers, what lies between the core and the crust? Cindy MacDonald
The reality behind Morrison's tax cuts
Mike Seccombe Scott Morrison says there will be no cuts to health, education or services to pay for his tax package. The numbers tell a different story. The budget plan is to reduce government outlays from the current level of 24.9 per cent of GDP to 23.6 per cent over 10 years. While this may not sound like much, it will involve an unprecedented austerity in government spending.
Murray–Darling recovery in peril
Karen Middleton As attempts to restore water to the river basin fail to meet their targets, scientists warn irrigator subsidies may cost 10 times initial estimates.
The rise of building defects
Debra Jopson Sydney and Melbourne's real estate boom, falling standards in oversight and a reticence to report flaws have combined to create a defects crisis in the cities' residential apartments.
Queensland mining industry reckons with spate of deaths
Dennis Atkins After the death of six workers in the past 12 months, Queensland's mining industry is desperately searching for solutions to improve the safety of its worksites.
Artist Michael Armitage
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Scott Morrison, prayers and Hillsong
Paul Bongiorno Rapturous applause welcomed Scott Morrison to the annual Hillsong conference. Twenty-one thousand delegates bowed their heads as the prime minister led them in prayer for our nation – for veterans doing it tough, young people considering suicide, those facing the challenges of middle age, remote Indigenous communities, people with disability, and drought-breaking rain.
Gadfly: Gus's power play defused
Richard Ackland Fantastic Angus has been so busy with explanations about the poisoning of endangered grasslands on a family spread that he's taken his eye off the ball. Both carbon emissions and power prices have gone in the opposite direction to that promised by Schmo Morrison's junta. Emissions are up, up, up, and so too are power prices. Fantastic. Great move. Well done, Angus.
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And the winners are: Which high school musicals came out on top?
Most popular high school musicals since 2000
Gallery: Most popular high school musicals since 2000
By Kelly Roncace | For NJ.com
It's spring musical season and NJ Advance Media wants to shine a spotlight on all the productions being performed throughout South Jersey.
Last week, we asked the readers to vote for what high school musicals in South Jersey they would like us to photograph.
There were eight separate polls -- one for each South Jersey county and one for non-public schools -- spotlighting each of the high school musicals throughout the area.
However, the process didn't go without its share of drama, as a loophole in the voting set-up caused some trouble, prompting us to discount the first round of votes and start again.
When we restarted the voting process on Monday, we stated that any suspicious votes would be discounted and after a thorough review of all votes, we're ready to announce the winners for this year.
Ultimately, it was our mission to encourage everyone to go out and catch at least one of these performances which require much hard work from the students and staff at each school.
We welcome reader submitted photos from every show. They will be considered for an online photo gallery and a spot in our newspaper South Jersey Times. Please send pictures and caption information to Kelly Roncace - kroncace@njadvancemedia.com.
Best wishes and "break a leg" to all the students involved in every South Jersey high school musical.
Here is a list of the winners that will be photographed.
The winner in Atlantic County is Charter Tech High School with "Avenue Q." For all Atlantic County school performances, check out the full list for show dates and times.
The winner in Burlington County is Burlington Institute of Technology - Medford campus with "Chicago the Musical." For all Burlington County school performances, check out the full list for show dates and times.
The winner in Camden County is Winslow Township High School with "The Little Mermaid." For all Camden County school performances, check out the full list for show dates and times.
The winner in Cape May County is Lower Cape with "The Drowsy Chaperone." For all Cape May County school performances, check out the full list for show dates and times.
The winner in Cumberland County is Vineland High School with "Mary Poppins." For all Cumberland County school performances, check out the full list for show dates and times.
The winner in Gloucester County is Deptford Township High School with "Aida." For all Gloucester County school performances, check out the full list for show dates and times.
The winner in Salem County is Woodstown High School with "The Sound of Music." For all Salem County school performances, check out the full list for show dates and times.
The winner of the non-public schools is Holy Cross with "Pippin." For all non-public school performances, check out the full list for show dates and times.
Kelly Roncace may be reached at kroncace@njadvancemedia.com. Follow her on Twitter @kellyroncace. Find the South Jersey Times on Facebook.

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Legendary baseball player and fractured linguist Yogi Berra is claimed to have said, "It's deja vu all over again." Well, when we look for the descendants of British Luddites – the early 19th century protestors who smashed new weaving machines – we have only to look around to folks like British Labor Party Leader Jeremy Corbin, Microsoft founder Bill Gates, and local San Francisco City Supervisor Jane Kim, who have all called for a tax on robots. Just as Luddites were wrong in the 19th Century, the "tax the robot" advocates are wrong today.
First, they should all take a deep breath and repeat: "robots are not going to take away our jobs." It's easy to believe that the robots will be all powerful, coming to destroy virtually every job from janitor to lawyer to truck driver. But, despite this fearmongering, automating jobs is really hard: this is why over the last decade U.S. productivity has grown at historically slow rates. It also usually takes a very long time for technology to transform an occupation. Case in point: Otis Elevator invented the self-service elevator in 1923; it was not until around the year 2000 that most elevator operator jobs were replaced. Likewise, the automatic teller machine was supposed to eliminate bank tellers; yet there are more tellers today than 20 years ago. We will likely see a similar dynamic with truck driving jobs, as not only will trucking companies not want to replace well-functioning trucks with autonomous ones but truck makers will find that building a truck that can drive on its own, particularly in urban areas, is a complex challenge.
Second, robots will alter the mix of occupations in the economy and alter the nature of work performed by individual workers. It may reduce the number of some existing categories of jobs, but new jobs and occupations will emerge. Historically, improved "tools" increase productivity, which is the key to improved living standards. Making "robots" more expensive would discourage companies from adopting them, but that would slow the rate of productivity growth and lessen the standard of living for our children. And it would create an opportunity for other nations, like China, Japan and Germany, to become even more competitive and take more of our jobs.
In fact, a robot tax would likely result in fewer jobs, not more. This is because when productivity is high, unemployment tends to be lower and wage growth tends to be higher. By using innovative technologies like robots, companies invest more, consumers spend more and the national economy expands. A robot tax would mean fewer jobs and comparatively lower living standards.
Moreover, a robot tax is like Canute seeking to hold back the tides of change. Fortunately, history errs on the side of progress. Case in point: in the 1920s the Horse Association of America campaigned to limit the use of trucks on public roads and sought to prohibit automobile parking on principal streets because they wanted to protect hay growers, blacksmiths, and other related workers. But the tide toward cars didn't stop, and cars ultimately created more jobs in positions such as auto repair workers and car assemblers. Indeed, the economic record of those changes – and many others like them – demonstrates that the adoption of new technologies ends up not only creating new types of employment, but expands incomes so consumers have more to spend: both of which mean more jobs.
It is much easier to predict and visualize the jobs that will be lost in the short term, and much harder to foresee the news kinds of jobs that will be created. This is why proponents of a tax on robots offer to apply the revenue from a robot tax to help retrain workers. Instead, policy makers should focus on accelerating the match between where the economy is going and the skills and aptitude of workers who can secure, sustain, and grow in the jobs of the future. Local and state officials should be experimenting with policy innovations like vouchers that enable laid off workers to enter apprentice or other training programs, tax incentives for employers to invest more in training, extra support for laid off workers, and a higher minimum wage.
Despite the rhetoric around robots, the truth remains that the United States has fallen behind in supporting workers and offering them the tools and opportunities to succeed in an evolving workplace. Other countries have used credentialing, apprenticeships, industry-led regional skill alliance programs, dual-enrollment programs, and have more actively engaged employers in advancing programs on science, technology, engineering, and mathematics.
A tax on robots is not the answer. Workers who fear technological progress need to be heard, but the most authentic and practically relevant response is not to stop the clock of progress. Instead, we should reinforce that we are all in this together. We can't afford to leave anyone behind.
David Beier was Chief Domestic Policy Advisor to Vice President Al Gore and is Managing Director of Bay City Capital. Rob Atkinson is founder and president of the Information Technology and Innovation Foundation (ITIF), a leading science and tech-policy think tank.


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MINI, the car company owned by BMW, has a new logo that is flatter and minimalistic, for clearer recognition and reproduction.
Landor creates an identity for Delphi Automotive's Aptiv spinoff and then helps Delphi with its own new brand positioning.
BRIGADE helps the Studio School introduce its new name and identity with a text-based design and Hollywood lingo.
Kickstarter has a new identity designed by Order and the inhouse Kickstarter team that features a chunkier wordmark and more editorially focused website.
Phenomenon has create a brand for a major home loan provider to be more approachable and personal at every touch-point.
eHarmony, a pioneer of the online dating system, has redesigned its logo to include a warm lower case font and dynamic heart.
Inhouse designers at YouTube and parent Google have refreshed logo, UI and UX design of the evolving streaming service.
Siegel+Gale creates a new logo for $25 billion IT services provider DXC Technology. The logo uses the "X" to indicate the transformative nature of the client.
Franke+Fiorella has helped revitalize and build equity in the Questar, a leader in educational assessment and testing. The solution included a clearly articulated brand strategy and architecture, and a simplified brand portfolio.
MassMutual's new logo by The Working Assembly is boldly blue with white dots to represent people, connections, and a new era of holistic financial solutions. Johannes Leonardo was in charge of overall creative and strategy.
For a leader in contact center solutions, Landor crafted a new identity and brand that captures the adaptability and fluidity of human conversation.
Dotdash is the new name and look of internet pioneer site About.com as it continues to evolve into a vertical, multi-branded site.
Vincent Romeo designed the graphics for Major League Baseball's 2017 Spring Training with summer camp on his mind.
The Huffington Post unveils a shortened name and new design to support its positioning as a bolder, more accessible, more fun news source.
Red Peak has developed a visual identity system for new MetLife spinoff that specializes in life insurance and annuity solutions.
Brand Union has rebranded Tyson with a weathervane to hearken back to the family farm, and to support new antibiotic-free and sustainability initiatives.
High Tide creative agency overhauled the brand identity for the Dig Inn restaurant chain in anticipation of additional expansion.
Jovenville has revamped the branding of Amy Marietta, a lifestyle blogger and content developer looking to grow.


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Velázquez's "Santa Rufina" purchased by the Focus-Abengoa Foundation is on public display in Seville city hall
Seville, August 3, 2007. The work entitled "Santa Rufina" by Velázquez, purchased by the Focus-Abengoa Foundation at the Sotheby's auction held in London on 4 July, can be visited in the lower arched gallery of the Seville consistory, where portable temperature and humidity meters have been installed to guarantee the optimum preservation of the work. The upper gallery window has also been covered in order to create the correct light conditions.
In several months time the work of art will become part of the future Velázquez Research Centre, the result of a collaboration agreement between Seville city council and the Focus-Abengoa Foundation, at the Foundation's headquarters. The scientific project is currently underway and will include various works of art from Seville city hall, including "La casulla de San Ildefonso" also by Velázquez, as well as other Sevillian baroque masters. The project has two highly reputed scientific advisors, the art historian Benito Navarrete and the honorary director of the Prado Museum and member of the Royal Academy of History, Alfonso E. Pérez Sánchez.
Monday to Friday: 10.00 am – 1.30 pm / 5.00 pm – 7.30 pm
Saturday: 10.00 am - 1.30 pm
Santa Rufina. Diego Velázquez 1628-29.
The painting "Saint Rufina", recovered for the city of Seville, has had an eventful history. Painted by Velázquez in 1628-29, soon after he arrived at the Spanish court, this work was probably commissioned by a Sevillian citizen living in Madrid, with the memory of his time in Seville still fresh and recent. The girl's melancholic gaze clearly indicates that the painting is a "divine portrait" of someone close to him.
The canvas was once part of the collection of Don Luis Méndez de Haro y Guzmán, Marquis of Carpio (1598-1661), where "Saint Rufina" was described exactly as we see her today. It later appeared in an inventory of works associated with the House of Alba, and in the late 18th century it was listed among the artworks owned by Goya's friend, the enlightened scholar Sebastián Martínez, in his palace in Cadiz. The work later graced several 19th-century collections where it was always identified as Velázquez's "Saint Rufina", until the Marquis of Salamanca acquired it for his Madrid collection and catalogued it as a representation of "Saint Clare", although the description, dimensions and authorship all remained unchanged. In 1867 the painting left Spain and was auctioned off in Paris as part of the Salamanca collection to the first Earl of Dudley, who took the piece to the United Kingdom. It was subsequently sold on to several different owners, sometimes as a painting by Murillo, and travelled to Buenos Aires, New York and London. Now it has returned to Seville to stay, after completing its final journey, as part of the cultural heritage of all Andalusians.


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Home Joint Diplomacy & Peace Aid workers killed in Central African Republic
Aid workers killed in Central African Republic
A UNICEF employee and five education workers were killed in an attack in the Central African Republic, the United Nations children's fund said in a statement.
The attack on February 25 occurred as the group was traveling to Markounda, in a remote region near the Chadian border. UNICEF declined to immediately give the nationalities of those killed.
"We strongly condemn this senseless act against aid workers there to improve the lives of the most vulnerable populations," UNICEF's West and Central Africa Regional Director Marie-Pierre Poirier said in the statement.
The agency said it was not yet in a position to release more details on the incident.
Militia violence in the Central African Republic has intensified over the past year, making it one of the world's deadliest countries for humanitarian workers.
Unknown assailants killed six Red Cross volunteers in the south-east last August, barely a month after another worker was shot dead by an unidentified armed group in Bangassou.
Wagner Group continues to exert Russian influence in Africa
Malian military commissions new armoured vehicles
Seven UN peacekeepers killed in central Mali explosion


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Pitchup.com unveils biggest ever advertising campaign
Mai 22 2015 Veröffentlicht von Samantha Marsh
Motorway service station campaign to target key regions
Two-week campaign commencing 1 June 2015
Outdoor accommodation specialist, Pitchup.com, has unveiled its biggest ever advertising campaign, promoting the company's wide ranging accommodation offering to holidaymakers in the UK.
The campaign, which runs from 1 - 14 June, will feature image-led adverts appearing at 60 motorway service stations across the Midlands and South West.
Over a period of two weeks the adverts will be visible to millions of visitors to service stations, showcasing a selection of Pitchup.com's accommodation offering.
Commenting on the campaign, Dan Yates from Pitchup.com said: "This is our first major offline advertising campaign, so we're excited to see what it delivers in terms of brand awareness and bookings. Our statistics tell us that the Midlands and South West are key regions for us so we've targeted those areas. Over the course of the campaign we will have adverts at 60 service stations on the M5, M40, M42, M4, M56, A350 and A38."
The company has previously put the majority of its advertising budget into online campaigns. However as the company continues to grow, Yates decided it was time to broaden the scope of its advertising beyond online marketing to reach new audiences.
"We'd received feedback that we needed to advertise more, which highlighted to us that our online activity wasn't reaching all our potential customers. Furthermore, there can be a lack of understanding of our product, with potential customers unaware of our overseas destinations or our accommodation options beyond camping pitches," said Yates.
"By focusing on service stations throughout the Midlands and the South West, we will reach a vast new audience, and our research shows that drivers using this part of the motorway network are highly likely to enjoy regular outdoor holidays in the UK," he concluded.
Each advert illustrates the range and styles of accommodation offered by Pitchup.com highlighting the company's reach across the UK and Europe, using images to showcase the most amazing accommodation on offer.
- Ends -
For media information:
Contact Samantha Marsh or Jardine Howlett at White Tiger PR
samantha.marsh@whitetigerpr.com 07711 265666
jardine.howlett@whitetigerpr.com 07866 508737
Founded in 2009 by former lastminute.com man, Dan Yates, multi-award winning Pitchup.com is a free guide to all types of outdoor accommodation in the UK, Ireland, France, Spain, Italy, Germany, Portugal, Croatia, Luxembourg, Austria, Poland and Switzerland. Pitchup.com, which currently lists over 5,800 sites, provides users with a simple platform in which they can search and book an outdoor holiday with total ease: the customer journey from landing on the homepage through to booking a holiday can be completed in as little as four pages. The site also goes beyond traditional searches by allowing users to search for accommodation based on more than 80 criteria, such as adults only and campfires allowed, and view nearby events, Good Pub Guide pubs and VisitBritain attractions. It's also possible to check out water bathing water quality in the surrounding area with data provided by the European Environment Agency. Users can also search on the offers page to find the best deals available.
In 2013 Pitchup.com became the first business of its type to launch a bookable mobile app and site, making the site easily accessible to users of mobile and tablet devices. The mobile site, m.pitchup.com, now accounts for 21% of bookings.
Pitchup.com enables users to search for all types of parks and sites from the major brands right through to one-off campsites and unique outdoor accommodation options, which may not have previously had a web presence.
Awards include Best UK Travel Website of the Year at the British Travel Press Awards 2011, and most recently Best Travel / Leisure / Sports / Mobile Strategy / Campaign at the Marketing on Mobile Awards 2014.