Thinking In Sound: Chris Atkins on Collaborating and Connecting Through Music

A co-founder and managing director of WithFeeling, Chris Atkins is an all-around creative, experienced senior music producer and award-winning multi-media specialist with twenty years of experience. Chris has a background in music strategy, consultancy, music production and talent management for leading brands, including BBC World Service and Expo 2020 Dubai. 

In his role at Expo 2020 Dubai, Chris led the creation of the official theme song 'This is Our Time' while also producing Expo 2020’s sonic branding and identity. Chris led the design and production of the audio strategy that delighted visitors for six months through the soundscapes across all public spaces and was responsible for the audio and media production for many bespoke events, conferences as well as exhibitions spaces.

In his multimedia production role, Chris also led a team of animators and designers who created thousands of pieces of content displayed on the 500 screens every day for six months.

In his career, Chris has worked across multiple aspects of music and sound production, including sound design and Foley recording on thousands of commercials and films in different languages, with many winning regional and international awards.

Chris was recently awarded the UAE Golden Visa for his creative work spanning over 20 years in Dubai, during which he has developed a keen interest on the sounds of the region and built an extensive network of talents in the music and cultural industries. 

LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?

Chris> When starting a new project, the first thing we do is really get to know the brand. We always ask the brand to tell us about themselves, what they stand for, their unique selling points, their story—and we ask them to share their brand guides or profile.

Some brands have an obvious audio connection right from the start—there’s a clear direction for how sound can amplify their identity. Others might be less obvious initially, but we always find that unique sonic angle, and that’s what makes the process exciting.

I remember a project where we worked with a tech start-up that didn’t have a clear sonic identity. They were known for cutting-edge software, but there wasn’t an obvious sound associated with their work. After rounds of discovery, we realised the rhythmic hum of machinery in their data centres had a certain resonance. That hum became the foundation of their sonic motif, turning something so unexpected into a key part of their brand.

Now that we have a larger team, one of my favourite parts of the process is our internal brainstorms. These sessions are where the magic happens—it’s a safe space for everyone to throw out ideas, no matter how wild they might seem. Those are honestly my favourite days, because it’s often the seemingly ‘silly’ ideas that spark something truly amazing.

At the heart of everything we do is a real passion for sound and creativity, and we’re always aiming to deliver work that’s not only effective but also meaningful.

LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity—what are your thoughts on this? Do you prefer to work solo or with a gang, and what are some of your most memorable professional collaborations?

Chris> Absolutely, music and sound are incredibly collaborative forms of creativity. While there are times when working solo can bring out a more personal, focused creative flow, I’ve always found that collaboration takes things to another level.

As I mentioned earlier, those brainstorming sessions with the team are some of my favourite moments—the energy of bouncing ideas off each other, exploring the unexpected, and pushing boundaries together is where the magic really happens.

One of the most memorable collaborations was for a global event where we had to create a sonic identity that worked across multiple cultures and languages. The mix of musicians, sound designers, and cultural advisors in the room made for a fascinating process. The end result was something none of us could have achieved alone, and it’s a testament to how interaction and diverse perspectives elevate the work.

I believe sound and music thrive on interaction, not just between creators but also with the audience. The goal is to create something that resonates emotionally, and having different perspectives in the room often leads to ideas we wouldn’t have come up with individually.

Some of my most memorable collaborations have come from this process—working with different musicians, sound designers, and brands to create something truly unique. It’s those collaborative moments that bring out the best in a project, and I wouldn’t have it any other way.

LBB> What’s the most satisfying part of your job and why?

Chris> The most satisfying part of my job? Honestly, I love every aspect of it, but if I had to choose, the first enquiry always gives me a buzz. It’s a great feeling knowing that someone has connected with our work, whether it’s through our website (my SEO efforts!!), a past project, or word-of-mouth. It’s always a positive start, and that excitement never gets old.

But I also love the process itself. Watching the team craft these wonderful pieces of music or sound design fills me with pride. Seeing how an initial idea grows and evolves through collaboration is incredibly rewarding.

One of the best parts of the job is when a project goes live, whether it’s seeing the feedback online or watching people’s reactions at an event. It’s such a rewarding moment after all the work that’s gone into it. Seeing how the music connects with people is always a big payoff.

Joe [Dickinson, co-founder] and I often laugh because we can never quite anticipate what each day will bring or what kind of project will come through the door. One day it’s a museum in Saudi Arabia, the next it’s a cinema house in Mexico or a shoe brand in Switzerland. It’s the variety and the challenges that keep things exciting, and I really enjoy that aspect too.

LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?

Chris> As the advertising landscape evolves, particularly with the rise of digital platforms and fragmented attention spans, the role of sound and music is more crucial than ever. While visual content is often passively consumed or muted, music has the power to cut through the noise, forging immediate emotional connections with audiences.

I’ve worked with global brands who initially viewed sound as a ‘nice-to-have,’ focusing solely on visuals. After showcasing how a sonic logo could elevate their brand, they quickly recognised the impact. Now, sound is a core element of their strategy.

It still surprises me how many brands don’t fully utilise unique sounds. Music has been proven to set your brand apart, yet half of our job is convincing clients of its importance! No one would dream of sharing a similar logo or colour scheme with a competitor, but when it comes to music, they often opt for generic tracks. It’s such a missed opportunity.

New opportunities lie in developing brand tracks and variations. With the rise of content on social media and zero media spend, brands need more music than ever. Since audiences may not reach the end of a video to hear the sonic logo, having brand tracks with themes and watermarked sonic logos is vital.

This ensures brand recognition even in brief, fragmented interactions.

LBB> Who are your musical or audio heroes and why?

Chris> Growing up, I was a massive Oasis fan—and I still am! I’ll be at Wembley next year, singing my heart out like it’s 1996. Their music had a rawness and energy that really connected with me as a young teen.

However, as I transitioned into music production and began focusing on sound quality, it was Mutt Lange who became a real hero for me. His meticulous attention to detail, his ability to craft sonically perfect records, and his work across genres inspired me deeply. In fact, as a passionate 17-year-old, I was so determined to share my own music that I flew to Switzerland to give Mutt my demo CD in person. It’s a long story, but that encounter later led to me staying at his house years down the line and eventually working for Kevin Churko in Vegas, who had been Mutt’s assistant for many years.

What I’ve always admired about Mutt Lange is his precision—every sound has its place, and nothing is accidental. I try to bring that same level of craftsmanship to everything we create at WithFeeling. Whether it’s a five-second sonic logo or a full-blown soundtrack, every note is deliberate, and every layer adds something essential.

This experience taught me that dreams can come true if you pursue them relentlessly. Both Oasis and Mutt Lange showed me that passion, vision, and hard work can take you far in the music world—and I carry that belief with me in everything I do today.

LBB> And when it comes to your particular field, whether sound design or composing, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?

Chris> In all honesty, when it comes to influences in my field, I find myself more inspired by classic artists like Mutt Lange, Noel Gallagher, David Gilmour, and Lindsey Buckingham. These are my musical heroes, but as much as I love their work, I wouldn’t necessarily call on them to create a sonic logo for, say, a Saudi bank! That’s a very different skill set.

When it comes to those kinds of projects, I rely on my co-founder, Joe Dickinson, every time. I’ve said it in many interviews, and I stand by it: Joe is one of the most talented composers out there. His ability to interpret a brief and create something perfect, no matter the challenge, is remarkable.

Given the time, I truly believe he could take on any composer in the world and come out on top. His combination of talent and relentless work ethic means he won’t stop until it’s just right, and I love knowing he’s on a brief. As we grow, it happens less often, but whenever Joe is working on a project, I know it’s going to be smashed out of the park.

We work on such a wide range of music, from creating soundtracks for banks to wellness clinics, to composing Saudi pop songs for events, so we draw inspiration from many different places and people. This variety keeps things exciting and constantly pushes us to explore new ideas.

In terms of sound design, I’ve had plenty of experience, having originally started out as a composer and sound designer. Early on, I was influenced by the brilliant Matt Faddy, who taught me the golden rule: "If you see it on film, you want to hear it." That principle has guided me throughout my career. Matt also showed me the art of layering sounds, which is key to creating depth and richness in audio.

While I don’t do as much hands-on sound design now—given that I’m often busy with the business side of things—I’ve had my fair share of it. I learned to work efficiently, layering and combining sounds rather than relying on just one. Tools like the Rolling Sampler have been invaluable for this, allowing me to loop, record, and drag audio into sessions quickly.

It’s perfect for keeping the process streamlined, especially since I prefer sessions that aren’t cluttered with hundreds of tracks.

So, while I may not be on the front lines of sound design as much now—thanks to a growing team—I’ve spent years honing that craft. And whether it’s music composition or sound design, it’s all about creative problem-solving. With Joe leading the charge and the right tools in place, we continue to deliver something truly special every time.

LBB> When you’re working on something that isn’t directly sound design or music (let’s say going through client briefs or answering emails) - are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?

Chris> When I’m working on tasks like going through client briefs or answering emails, I always have something playing in the background. My studio/office is never silent—it’s just part of how I work.

Spotify’s Discover Weekly often keeps me on my toes, introducing new artists and songs I wouldn’t have found otherwise. If something really stands out, it goes straight into my 'Chris Has Great Taste' playlist, which has become a bit of a collection of unexpected gems. Sometimes, halfway through a client email, I’ll realise I’ve ventured deep into a bizarre electronic rabbit hole. Honestly, some of my most out-there ideas have probably been sparked by those random, unexpected tracks.

Background music keeps the energy flowing and, whether it's admin tasks or more creative work, it sets the right mood for me to stay focused and inspired.

LBB> I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years. There’s the switch from analogue to digital and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low-quality sound (often the audio is competing with a million other distractions) - how does that factor into how you approach your work?

Chris> It’s true, the quality and context of how people listen to music and sound have changed dramatically over the years. I've mixed full 360-degree experiences designed to be played inside a man-made mountain, all on my headphones—so trust me, I get how wild the range can be!

These days, one project has to sound great on everything from a mobile phone to an immersive surround-sound system, which can be a real challenge.

The trick is to test the mix on as many devices and speakers as possible. I love using my Mix to Mobile plugin, which streams audio straight from Pro Tools to my phone. It’s a quick way to make sure it sounds good on a phone, because honestly, if it holds up there, it’s going to sound great everywhere else.

I think the key is to embrace the reality that people are listening in all kinds of environments—from low-quality, on-the-go situations to high-end, immersive spaces—and to approach each project with that full range in mind. Balancing that is part of the art!

LBB> Do you have a collection of music/sounds and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised Spotify-er…)?

Chris> As I mentioned earlier, I’m definitely a Spotify person when it comes to discovering new music, but when it comes to sound effects, I’m a bit of a hoarder! I’ve been collecting sounds since I was 17, so that’s many years of building a massive archive. Some of these sounds, many of which I’ve recorded myself over the years, still find their way into our sound design projects today.

I’ve successfully uploaded this entire collection onto our Dropbox, making it accessible for the team. It’s been a game-changer for how we work, allowing everyone to dive in and use these sounds. Honestly, if Dropbox ever went down, I think that would be the end of WithFeeling!

Our whole lives are on Dropbox—it’s such an important tool for us, from sound libraries to client projects. That sound archive has become the backbone of so many projects, constantly sparking fresh ideas and helping us push creative boundaries.

LBB> Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music?

Chris> Outside of the music and sound world, I have a few passions that keep me creatively engaged. One of those is painting, although I wouldn’t call myself an amazing painter. My mum was a painter, and I guess I take after her in that way. She created some truly weird and wonderful pieces, and when I paint, I definitely lean towards creating something colourful and a bit wacky.

Despite that, my wife still lets me hang my work on the walls, so they must not be too bad!

I also love making short films and documentaries when time allows. Some of my favourite projects have taken me to places like New Delhi, Cambodia, Thailand, Denmark, and Japan, where I’ve had the chance to tell the stories of non-profits and fascinating individuals. There’s something so rewarding about capturing these stories and pairing them with the right sound and music to bring them to life. You can actually find some of these films on my personal website.

These creative outlets, whether painting or filmmaking, often feed back into my music work, helping me explore different ways to evoke emotion and tell stories through sound.

LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do—what are the most exciting or inspiring experiences you’ve had when it comes to sound and music on your travels?

Chris> As a startup business owner, I don’t always have a lot of time outside of working and sleeping! But one thing I truly miss is travelling. My wife and I recently returned from Japan, and it was one of the most amazing experiences of my life.

A major highlight was visiting teamLab, and it was a huge “wow” moment for me. I’ve never seen anything like it—the way they combined digital art, light, and sound to create an immersive, ever-evolving environment was breathtaking. It felt like stepping into another world where all your senses were fully engaged and connected. I remember walking into a room where the air seemed to vibrate with a delicate, ethereal hum. It wasn’t just the light that moved—it was the sound, a gentle pulse that felt like it was breathing with the space. It was a reminder of how sound can completely change your perception of an environment.

At WithFeeling, we strive to create those same kinds of emotional, immersive experiences through audio. Sound has the unique ability to evoke deep feelings and memories, much like what I experienced at teamLab. It's not just about what people hear, but how the sound makes them feel in a space. That visit reinforced for me the endless possibilities when sound, space, and technology work together in harmony, and it’s a mindset I bring into every project we work on.

I left Japan not only inspired but more certain than ever that sound is a crucial part of any truly immersive experience. It was a powerful reminder of the role sound can play in storytelling and how it helps transport people to another time or place, even without them realising it.

LBB> As we age, our ears change physically and our tastes evolve too. How has your relationship with sound and music changed over the years?

Chris> Over the years, my relationship with sound and music has certainly evolved, though some habits have stayed the same. Growing up, I was passionate about rock music and played guitar, but interestingly, I’ve always listened to music at a low volume—it’s just how I’ve always been!

My hearing is still as sharp as ever (I am only 41 though!), and I can’t stress enough how important this habit has been. I highly recommend to any young music engineers or producers to adopt the same practice. Trust me, you'll thank me later in life, not just because your mixes will improve, but because your hearing will last longer, allowing you to enjoy music for many more years.

One thing that has remained constant is that I’ve always been drawn to music that makes me feel something. That’s the reason we named the company WithFeeling!

These days, I listen to a lot more world music, and having lived in the region for so long, I’ve come to appreciate it more and more. As we speak with more cultural advisors on different projects, I’m often introduced to fascinating new sounds, which always piques my interest.

I suppose my work at Expo 2020 before setting up WithFeeling reignited that curiosity and made me want to be a student again, something I’m really grateful for.

Of course, when I’m on my own and enjoying a beer or two, I still can’t resist putting on some Oasis and reliving my youth—some things never change!