05 Jun '24 - blog / Event report, Knowledge

Fresh Ideas from Abroad: What We Can Learn from Music Agencies Worldwide – BMIM Special 2024

During BMIM Special last month, we dove into how media music professionals can broaden their horizons. While ‘we’ are proud of our Dutch music agencies’ exceptional talent and quality, the ‘Fresh Ideas from Abroad’ panel gave visitors a perspective on the cutting-edge strategies that drive success abroad.

Discover the latest technological innovations revolutionising the industry, learn how top agencies foster collaborative relationships with artists, and discover the unique approaches they use to scout and nurture new talent through the wisdom of speakers Daniel Olaifa and Tom Cathcart. Tessa Rose Jackson asks them the questions we’ve all been wanting the answers to.

Daniel Olaifa is a Music Supervisor at Black Sheep Music in the UK. He is currently looking after clients like Tesco, Samsung, Ribena, pharmaceutical companies in the United States, and many more. Tom Cathcart is a Music Producer at Heavy Duty Projects in the UK. He is their European lead, running campaigns for brands like Samsung, IKEA and the BBC across composition, licensing and library music. Their moderator, Tessa Rose Jackson, is a composer for film, TV, and games, next to being a recording and performing artist.

‘Composers often get a brief and have to work within the outline of that brief’, opens Tom Cathcart. He explains why it’s difficult to speak about trends about music for agencies, because Heavy Duty mainly publishes pop and contemporary music. ‘We’re well covered in that space, but I love hearing from people with a real niche.’

Daniel Olaifa agrees, saying he appreciates experimental sounds as well. ‘During the process, I try to get the creative team and the creative directors involved with new music, as part of my role here is to be at the forefront of it. We often talk to new composers and musicians in hopes of finding something different. So we’re proactive, to attend to the needs of clients if they need it, so we’re increasingly on the lookout, breaking out of our network: trying to be different’, Olaifa states.

‘An interesting subject for all my fellow media composers: is it true that agencies look for collaborations with famous pop artists? And if it’s true, what is the consequence for lesser-known composers?’ asks Tessa Rose Jackson, both music supervisors.

Tom Cathcart answers the question by explaining that there’s so much content being made at the moment, that there is an equally considerable scope of work to do for composers. ‘Composing is such a specific skill that we always look for people who are good at producing. I wouldn’t say it’s about choosing a famous pop star so much as to follow up the brief we get and then finding a person that suits that brief well’.

‘Some brands are keener on working with bigger artists than others’,’ later elaborates Daniel Olaifa. ‘At the moment, the word we’ve all heard in briefs for composing has been upbeat. Composers have the chance to really tell a story, but they must balance the composition between the wishes of the brand and their creativity. That sometimes takes a bit of compromise, especially with niche artists and music.’

The question on everyone’s mind is, of course, if there’s any chance for Dutch producers to make it in the UK. Tessa Rose Jackson: ‘What are our chances?’

Daniel Olaifa: ‘We try not to get too comfortable with the same people we work with. If we don’t have enough time for a project, it can be quite useful to hire someone we’ve worked with before, so we know we can trust them. The downside is that it doesn’t open new doors for others. So, we try to keep an open mind when there’s time.’

Tom Cathcart adds that supervisors receive far more submissions from composers than there are opportunities for us to hire them so it’s vital to make sure your pitch stands out – and that goes for composers from all countries, not just The Netherlands—his advice: ‘Shoot for the bullseye when you contact a music supervisor. Think about what you are best at and what your specific skills are – that way when I have that brief you will automatically be front of mind – whether it’s the harpsichord or how good you are at writing hooks.’

‘The idea of an all-rounder is great, but like many agencies, we are quite well-served for all-rounders’, Tom continues. ‘When I hire new composers, I think about what level of authenticity they can bring us. Questions like what’s real for them or what really speaks for them helps me choose in the process. I’m absolutely open-minded and don’t care where you come from. I want to work with people on something that they are best at’, he concludes.

Pictures by Birgit Bijl
Text by Meike Jentjes