THE KID LAROI AGES OVERNIGHT IN UBER EATS’ DARKLY HUMOROUS NEW CAMPAIGN

Uber Eats’ latest “Get Almost, Almost Anything” campaign stars The Kid LAROI, who transforms into a prematurely ageing version of himself after ordering a new name via the app. The cheeky film highlights Uber Eats’ wide delivery range while warning viewers to be careful what they wish for.  

Homegrown GRAMMY-nominated, multi-platinum global superstar The Kid LAROI has taken his playful persona to new heights in Uber Eats’ latest instalment of its “Get Almost, Almost Anything” campaign. The Australian artist, known for his youthful energy and chart-topping hits, becomes the centrepiece of a darkly comic narrative that explores the perils of wanting more than the app can deliver.  

Directed by Steve Ayson of 3&7, the campaign cleverly balances humour with cultural resonance, reminding audiences that Uber Eats is not just about takeaway food. From mouse traps and pet supplies to stationery and face masks, the platform’s breadth of offerings is showcased through a storyline that pushes the boundaries of wish fulfilment. Yet, at its core, the campaign is a cautionary tale: be careful what you wish for, because not everything should be available at the tap of a button.  

The 60-second hero film opens in a boardroom, where record label executives debate how to craft a more “adult” image for their young star. When LAROI attempts to contribute, he is dismissed with a patronising “the grown-ups are talking.” Frustrated, he takes matters into his own hands, turning to Uber Eats to order a new name. Within moments, a framed certificate arrives, officially rebranding him as “The Man LAROI.” The transformation is immediate: he morphs into a slightly older version of himself, suddenly commanding respect from the executives who had previously brushed him aside.  

But the humour lies in the consequences. The ageing process doesn’t stop at a dignified maturity. Instead, it accelerates uncontrollably. Within days, The Man LAROI is pushing into his 90s, still attempting to keep pace with the demands of superstardom. The campaign depicts the absurdity of this scenario with comic precision: hair loss in the studio, nodding off mid-session, breaking a hip on stage, and ultimately being dropped by his label for no longer fitting the demographic.  

The chaos is underscored by LAROI’s own hit “Baby, I’m Back,” which serves as the campaign’s soundtrack. In the end, Uber Eats delivers not another ill-fated wish but something far more comforting: New York Cheesecake. With that, LAROI reverts to his youthful self, lounging at home and reclaiming the carefree energy that made him a star in the first place.  

Peter Defries and Alan Wilson, Regional Group Creative Directors at Special, emphasised the uniquely Australian flavour of the campaign. “Year after year, Uber’s Get Almost Almost Anything platform keeps pushing its ‘be careful what you wish for’ humour further,” they said. “This time, the challenge was evolving it through a distinctly Aussie lens. That’s what made The Kid LAROI such a perfect fit: Australian to the core, and someone who didn’t just get the dark humour, but fully committed to it… even if it meant breaking a hip on stage.”  

Nicole Bardsley, Uber’s ANZ Head of Marketing, echoed the sentiment, highlighting the campaign’s blend of entertainment and brand messaging. “Get Almost, Almost Anything has become one of our most distinctive brand platforms, and this latest chapter pushes it further through humour and cultural relevance. The Kid LAROI brings an unmistakable energy to the story, helping us highlight the breadth of Uber Eats in a way that’s entertaining and memorable.”  

The campaign’s rollout is as ambitious as its creative concept. Launching on 2 February, it will run across TV, BVOD, OLV, YouTube, Meta, Snapchat, TikTok, and digital audio, ensuring that audiences encounter the cheeky narrative across multiple platforms. With 30-second cutdowns and bespoke 15-second versions complementing the hero film, the campaign is designed to capture attention in both long-form storytelling and quick-hit digital formats.  

For Uber Eats, this campaign is more than just another playful advertisement. It represents a continuation of a brand strategy that thrives on humour, cultural relevance, and the unexpected. By enlisting The Kid LAROI, the company taps into a global star with strong Australian roots, ensuring resonance both locally and internationally. The exaggerated storyline of premature ageing not only entertains but also reinforces the brand’s central message: Uber Eats can deliver almost anything, but not everything.  

The Kid LAROI’s willingness to poke fun at himself adds authenticity to the campaign. In an industry often obsessed with image and youth, his portrayal of a superstar grappling with the absurd consequences of accelerated ageing is both self-deprecating and refreshing. It demonstrates a maturity beyond his years, ironically achieved by playing an elderly version of himself.  

Ultimately, the campaign succeeds because it blends humour with relatability. Everyone has wished for something impractical or impossible, and Uber Eats cleverly turns that universal impulse into a narrative that is both entertaining and instructive. By showing what happens when wishes go too far, the brand underscores the value of what it can deliver—comfort, convenience, and a slice of cheesecake when you need it most.  

In a crowded advertising landscape, Uber Eats’ latest chapter stands out for its boldness, its cultural wit, and its ability to make audiences laugh while reinforcing brand identity. With The Kid LAROI at its centre, the campaign is poised to resonate widely, reminding viewers that while Uber Eats can deliver almost anything, sometimes the best thing it can bring is a moment of indulgence and relief.