Music Supervision for the Modern Age

When it comes to music supervision, balancing creative vision with the demands of commercial advertising is a nuanced skill. At Soundtree, Colin McIlhagga and Luke Georgiou, bring their music backgrounds — ranging from classical trumpet to ska — to the table, ensuring that every project strikes the right chord. The pair, who have worked with major brands like Samsung and Guinness, take a meticulous, hands-on approach to crafting soundtracks that resonate across formats, from social media clips to full-length TV ads. For them, technology may be changing rapidly, but it’s the creativity and instinct at the heart of music supervision that remain irreplaceable.

In this interview, Colin and Luke discuss their approach to music supervision and how they navigate the delicate balance between artistic integrity and commercial objectives. They share experiences of collaborating with top-tier brands, tackling challenging projects, and adapting to the changing role of music in shaping brand identities.

LBB> How do you incorporate your personal musical influences, like your background in classical trumpet or ska, into the more commercial work for brands without losing that creative essence?

Colin> Having been surrounded by music ever since I was a young child, I have developed an eclectic taste, and I find it is important to draw upon this when working. I find I do the best work when I am inquisitive, never settling for second best, and always exploring new music – this allows a balance between the more commercial work and maintaining the creative essence. And finally, I think it is vital to always trust your instinct!

LBB> Advertising often requires music to adapt quickly to different formats, from 15-second social clips to full-length TV ads. How do you modify your compositions to work across such diverse formats without losing impact?

Colin> We like to treat every format that same, whether it is a 6” social clip or a full 60” TVC – the same amount of effort goes into it. This way, we ensure consistency across all our output, and we craft the track to ensure it is working to its full potential.

LBB> Music technology has evolved quite rapidly in recent years. How have advances in tools or techniques changed the way you approach music supervision or composition, especially for brands like Samsung or Guinness?

Colin> Whilst there is no escaping the fact that we live in an ever-increasing tech world and the fact that we seem particularly vulnerable to AI (aaaah I said it!), we need to remember that these are tools rather than replacements. We are lucky enough to work with some of the world’s biggest and best brands who constantly push us, and we can use some of the most cutting-edge tech, but the fundamentals of the job remain the same and ultimately the finest tool we have at our disposal is our creativity and musical taste, and no matter how much tech advances, nothing will beat that.

LBB> How do you handle feedback from clients when it comes to music? Are there instances where you had to find a middle ground between your artistic vision and a brand’s requirements?

Colin> While it is sometimes difficult to hear feedback (especially negative feedback), we always ensure to take feedback as guidance on how to find the right answer, and to push us in the right direction. It is a journey, and feedback should always be viewed as signposts that help us navigate that journey, rather than as dead ends. We are all working towards the same goal!

LBB> Can you share an example of a particularly challenging project you worked on, where the perfect sync was elusive, and how you eventually cracked it?

Colin> Whilst every project is in itself unique and challenging, I suppose one recent challenging project was the amazing Libresse ‘Never Just A Period’, directed by Lucy Forbes. AMV BBDO has a long history of producing incredible work for Libresse, and at Soundtree we also have a long history of supervising and doing the music on these projects, so when we work on them it can feel Iike a lot of pressure – we have a lot to live up to! Like the previous work, music was pivotal to the film, and we needed to find the track before shoot, so with the clock ticking and leaving no stone unturned, we finally cracked it with the banger Over and Over by Hotchip, which was re-imagined by our talented arrangers and music producers, Benjamin Jones,Luke Fabia, Peter Raeburn and Luis Almau, in an epic way.

LBB> Collaboration seems to be a big part of your work — whether it’s between composers, producers, or directors. Can you share an example of how collaboration led to a creative breakthrough in one of your recent projects?

Colin> Collaboration is definitely a big part of our work, especially since everyone at Soundtree is a musician. A very fun job in which collaboration was a huge part was for Bombay Sapphire 'The World Is A Gallery' – a beautiful piece directed by Juan Cabral. We were tasked with finding the perfect track for this stunningly beautiful film, and whilst initially it seemed elusive, the breakthrough came when we suggested Arabesque No.2 by Debussy, which was beautifully reworked by our amazing head of music, Luis Almau.

LBB> Have you noticed any interesting trends in the way brands are using music to differentiate themselves? What role do you think music will play in shaping brand identities in the next few years?

Colin> I think more brands are leaning into nostalgic hits or lesser-known, forgotten gems which is I suppose a bit counter-media-intuitive when attempting to stand out as it is likely that these kinds of songs have been synchronised multiple times over the years. On the other hand, the application of sonic branding has been growing in popularity as more and more brands are realising the potential of this type of asset, as their effectiveness and longevity, if well researched and executed, can prove to be good value (as demonstrated by the research conducted by organisations such as sound-out).

I think that brands are using music to appeal to and connect with their audience in a more nuanced way that goes beyond music licensing. The brand partnership, if done well, can bring a sense of relatability and authenticity whether that is working with an artist on a commissioned composition as part of a branded soundtrack, or something that is more PR or social media driven, often licensing a track by the partnered artist for any kind of sizzle or BTS film that accompanies the main campaign work.

LBB> Luke, tell us a little bit about yourself, your journey and what brought you to where you are today

Luke> I am a passionate music supervisor with a love for all things music. Growing up in inner London, I was fortunate to be immersed in a rich and diverse musical landscape, which shaped both my personal and professional life. My journey into music supervision began at university, where, studying music, I discovered the profession through my interest in the 'music for moving image' modules, a subject that I later explored in depth, writing my dissertation on the subject.

While at university, I sought out work experiences at Ninja Tune and Domino, where I had the opportunity to spend time with their sync teams and gain invaluable insights into the industry. After university, I built on this foundation by working as a sync assistant at Believe, where I began to learn the foundations of the sync industry, and later as a sync manager at Skidmore Music.

Most recently, I worked in-house as a music supervisor at the advertising agency Truant London, where I enjoyed contributing to work where music was key to brand campaigns or sometimes central to their overarching brand strategy.

LBB> What attracted you to Soundtree?

Luke> I’ve admired the work coming out of Soundtree for a long time and have always been impressed by the high standard of creativity and quality the team produces. That reputation was an immediate draw for me.

What also stood out was the collaborative nature of the company. With music supervision, composition, and sound all in-house, there was a unique opportunity to work closely with and learn from colleagues across these disciplines. As a music supervisor, the chance to contribute to a broad range of work by providing research to inform compositions or sonic branding mnemonics and also learn from specialists in other fields was appealing.

I also appreciated that the Soundtree team are or have been practicing musicians. This shared musical background has fostered a deeper level of communication, allowing us to discuss music not just emotionally but also on technical, practical, and academic levels. I believe this shared expertise is a valuable asset that enhances both the creative process and the finished work.

LBB> Out of the projects you’ve worked on to date, what has been your favourite and why?

Luke> I particularly enjoy working on bespoke composition projects — from the initial music research that informs the composition’s palette and structure to commissioning the right composer and collaborating to bring an idea to life. One standout project for me was an animated brand film for Miral, a leisure and entertainment brand. In the absence of voiceover or dialogue, the music became the central element of the storytelling. For this project, we were fortunate to secure the talents of Guy Farley and Tokio Myers, who collaborated on a classical-electronic crossover piece. Working closely with a seasoned composer and arranger like Guy was an incredibly informative and inspiring experience.

LBB> What components make up your dream project?

Luke> My dream project is one where there’s an open dialogue with the creatives, director, or even the brand itself. Having the opportunity to collaborate effectively and contribute ideas beyond simply finding and licensing a good song is incredibly fulfilling. I believe open communication is essential for achieving exceptional work, as it allows music supervisors to fully immerse themselves in a project and effectively convey and complement the emotion, tone, and story of the project. I also value projects with longer lead times, as they provide the space to delve deeply into music research, which is particularly exciting for the more niche music briefs. The extended lead time not only allows for more thoughtful research and provides space to share new music discoveries internally.