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From record store digging to leading sync at Magnetic Music, James brings a deep instinct for discovery and storytelling, always chasing that moment when a track just jumps out of the speakers.
In this interview, he reflects on the journey so far and the creative instincts that continue to guide his work…
MASA: Can you take us back to the start – what got you into sync? Did you grow up with a musical background?
JAMES: I’ve always been into music discovery and music history and that excitement around uncovering hidden gems and curation led me naturally to working in the music licensing and sync space. From growing up digging at local record stores and flea markets for vintage finds, to discovering classic soundtracks and albums, it’s always been a bit of an obsession. I was maxing out my library card checking out every old jazz and blues record I could during college in New Orleans and the love of discovery definitely shaped my desire to work in sync. I then started my career first building catalogs and libraries and supporting some really talented composers and creative directors, and then progressed to working with artists and songwriters and leading creative myself.
MASA: Walk us through a typical day as Head of Sync at Magnetic Music. What’s the rhythm of your work like?
JAMES: Our team is a fast-growing creative community of music lovers, curators and creators, and we’re working with our artists to best position their catalogs and rights for alignment with our clients’ needs. It’s a mix of creative strategy and rights administration balanced with licensing and clearance needs. The rhythm is an exciting and energizing mix of communication, meetings and client work, usually chasing a lot of fast-moving deadlines. We’ve also had some custom work in recently that is really fun getting hands-on with our artists to execute custom songs and remixes.
MASA: When a brief hits your desk, what’s the first thing you zero in on to unlock the right sound?
JAMES: I do my best to try and understand the intent of the project behind the brief and see the bigger picture while digesting the creative asks and references. Researching the production, story, talent and audience involved, getting familiar with the themes and messaging and emotion of any references, and then hunting for similar qualities from our roster while making sure all budget and clearance needs are met. It’s a bit of a balancing act but when all of the above align it’s a great feeling.
MASA: Can you think of a recent campaign that really excited you musically? What made the sync magic happen there?
JAMES: This year we worked on a Super Bowl spot for Mr. Beast x Salesforce, and we had the chance to explore a lot of different options from our catalog working directly with the editor on the project. We chased a wide range of custom edits and mashups of multiple tracks to find the perfect fit, but ultimately landed on a great remixed track from one of our artists that played really well with picture.
MASA: You’re often bridging agencies, artists and clients. How do you keep everyone aligned creatively?
JAMES: Ultimately the client and their project needs come first – so we do everything we can to support their vision and be a resource creatively. Sometimes this means delivering custom stem edits, the occasional re-record, hybrids or remixes. Sometimes it’s multiple rounds of last minute searches. Some of the most exciting projects are those where we can get hands-on and support our clients’ vision shaping the music to picture with edits, additional sound design or custom additions. Our artist roster is amazing and very hands-on, and always eager to go the extra mile to execute.
MASA: How do you spot potential in a track before it’s proven itself in a spot?
JAMES: We’re working with visual storytellers, so on our end it’s about understanding the story of the music, the story of the artist, and allowing that messaging and identity to be authentically communicated. There are really no rules, so creativity and inspiration is what we nurture and champion. Sometimes it’s just as simple as how a song or hook makes you feel – some tracks are just undeniable and they just jump out of the speakers at you.
MASA: Advertising’s music landscape keeps shifting – what changes are you most excited about?
JAMES: I think the shifting landscape itself is what’s exciting – brands are often looking for new ways to connect with their audiences, and using new music and new artists is an exciting way to bridge that connection. I’ve seen a lot of trends come and go and am always looking forward to what’s going to come next.
MASA: If you could give your younger self one piece of advice about getting into the industry, what would it be?
JAMES: My advice is to never lose sight of why you want to be here in the first place – hold tight to the love of the art we champion and create and good things will follow.
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
JAMES: For me it’s alignment of narrative, tone and messaging, executed in a unique and effective way. Something that stands out creatively yet still nails the goal of the spot.
MASA: Huge thanks to you James for sharing your insights and for being part of this year’s jury. Your perspective on storytelling, instinct, and that ‘undeniable’ spark in a track really gets to the heart of what great sync can do.
MASA: Can you take us back to the start – what got you into sync? Did you grow up with a musical background?
JAMES: I’ve always been into music discovery and music history and that excitement around uncovering hidden gems and curation led me naturally to working in the music licensing and sync space. From growing up digging at local record stores and flea markets for vintage finds, to discovering classic soundtracks and albums, it’s always been a bit of an obsession. I was maxing out my library card checking out every old jazz and blues record I could during college in New Orleans and the love of discovery definitely shaped my desire to work in sync. I then started my career first building catalogs and libraries and supporting some really talented composers and creative directors, and then progressed to working with artists and songwriters and leading creative myself.
MASA: Walk us through a typical day as Head of Sync at Magnetic Music. What’s the rhythm of your work like?
JAMES: Our team is a fast-growing creative community of music lovers, curators and creators, and we’re working with our artists to best position their catalogs and rights for alignment with our clients’ needs. It’s a mix of creative strategy and rights administration balanced with licensing and clearance needs. The rhythm is an exciting and energizing mix of communication, meetings and client work, usually chasing a lot of fast-moving deadlines. We’ve also had some custom work in recently that is really fun getting hands-on with our artists to execute custom songs and remixes.
MASA: When a brief hits your desk, what’s the first thing you zero in on to unlock the right sound?
JAMES: I do my best to try and understand the intent of the project behind the brief and see the bigger picture while digesting the creative asks and references. Researching the production, story, talent and audience involved, getting familiar with the themes and messaging and emotion of any references, and then hunting for similar qualities from our roster while making sure all budget and clearance needs are met. It’s a bit of a balancing act but when all of the above align it’s a great feeling.
MASA: Can you think of a recent campaign that really excited you musically? What made the sync magic happen there?
JAMES: This year we worked on a Super Bowl spot for Mr. Beast x Salesforce, and we had the chance to explore a lot of different options from our catalog working directly with the editor on the project. We chased a wide range of custom edits and mashups of multiple tracks to find the perfect fit, but ultimately landed on a great remixed track from one of our artists that played really well with picture.
MASA: You’re often bridging agencies, artists and clients. How do you keep everyone aligned creatively?
JAMES: Ultimately the client and their project needs come first – so we do everything we can to support their vision and be a resource creatively. Sometimes this means delivering custom stem edits, the occasional re-record, hybrids or remixes. Sometimes it’s multiple rounds of last minute searches. Some of the most exciting projects are those where we can get hands-on and support our clients’ vision shaping the music to picture with edits, additional sound design or custom additions. Our artist roster is amazing and very hands-on, and always eager to go the extra mile to execute.
MASA: How do you spot potential in a track before it’s proven itself in a spot?
JAMES: We’re working with visual storytellers, so on our end it’s about understanding the story of the music, the story of the artist, and allowing that messaging and identity to be authentically communicated. There are really no rules, so creativity and inspiration is what we nurture and champion. Sometimes it’s just as simple as how a song or hook makes you feel – some tracks are just undeniable and they just jump out of the speakers at you.
MASA: Advertising’s music landscape keeps shifting – what changes are you most excited about?
JAMES: I think the shifting landscape itself is what’s exciting – brands are often looking for new ways to connect with their audiences, and using new music and new artists is an exciting way to bridge that connection. I’ve seen a lot of trends come and go and am always looking forward to what’s going to come next.
MASA: If you could give your younger self one piece of advice about getting into the industry, what would it be?
JAMES: My advice is to never lose sight of why you want to be here in the first place – hold tight to the love of the art we champion and create and good things will follow.
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
JAMES: For me it’s alignment of narrative, tone and messaging, executed in a unique and effective way. Something that stands out creatively yet still nails the goal of the spot.
MASA: Huge thanks to you James for sharing your insights and for being part of this year’s jury. Your perspective on storytelling, instinct, and that ‘undeniable’ spark in a track really gets to the heart of what great sync can do.
MASA: Can you take us back to the start – what got you into sync? Did you grow up with a musical background?
JAMES: I’ve always been into music discovery and music history and that excitement around uncovering hidden gems and curation led me naturally to working in the music licensing and sync space. From growing up digging at local record stores and flea markets for vintage finds, to discovering classic soundtracks and albums, it’s always been a bit of an obsession. I was maxing out my library card checking out every old jazz and blues record I could during college in New Orleans and the love of discovery definitely shaped my desire to work in sync. I then started my career first building catalogs and libraries and supporting some really talented composers and creative directors, and then progressed to working with artists and songwriters and leading creative myself.
MASA: Walk us through a typical day as Head of Sync at Magnetic Music. What’s the rhythm of your work like?
JAMES: Our team is a fast-growing creative community of music lovers, curators and creators, and we’re working with our artists to best position their catalogs and rights for alignment with our clients’ needs. It’s a mix of creative strategy and rights administration balanced with licensing and clearance needs. The rhythm is an exciting and energizing mix of communication, meetings and client work, usually chasing a lot of fast-moving deadlines. We’ve also had some custom work in recently that is really fun getting hands-on with our artists to execute custom songs and remixes.
MASA: When a brief hits your desk, what’s the first thing you zero in on to unlock the right sound?
JAMES: I do my best to try and understand the intent of the project behind the brief and see the bigger picture while digesting the creative asks and references. Researching the production, story, talent and audience involved, getting familiar with the themes and messaging and emotion of any references, and then hunting for similar qualities from our roster while making sure all budget and clearance needs are met. It’s a bit of a balancing act but when all of the above align it’s a great feeling.
MASA: Can you think of a recent campaign that really excited you musically? What made the sync magic happen there?
JAMES: This year we worked on a Super Bowl spot for Mr. Beast x Salesforce, and we had the chance to explore a lot of different options from our catalog working directly with the editor on the project. We chased a wide range of custom edits and mashups of multiple tracks to find the perfect fit, but ultimately landed on a great remixed track from one of our artists that played really well with picture.
MASA: You’re often bridging agencies, artists and clients. How do you keep everyone aligned creatively?
JAMES: Ultimately the client and their project needs come first – so we do everything we can to support their vision and be a resource creatively. Sometimes this means delivering custom stem edits, the occasional re-record, hybrids or remixes. Sometimes it’s multiple rounds of last minute searches. Some of the most exciting projects are those where we can get hands-on and support our clients’ vision shaping the music to picture with edits, additional sound design or custom additions. Our artist roster is amazing and very hands-on, and always eager to go the extra mile to execute.
MASA: How do you spot potential in a track before it’s proven itself in a spot?
JAMES: We’re working with visual storytellers, so on our end it’s about understanding the story of the music, the story of the artist, and allowing that messaging and identity to be authentically communicated. There are really no rules, so creativity and inspiration is what we nurture and champion. Sometimes it’s just as simple as how a song or hook makes you feel – some tracks are just undeniable and they just jump out of the speakers at you.
MASA: Advertising’s music landscape keeps shifting – what changes are you most excited about?
JAMES: I think the shifting landscape itself is what’s exciting – brands are often looking for new ways to connect with their audiences, and using new music and new artists is an exciting way to bridge that connection. I’ve seen a lot of trends come and go and am always looking forward to what’s going to come next.
MASA: If you could give your younger self one piece of advice about getting into the industry, what would it be?
JAMES: My advice is to never lose sight of why you want to be here in the first place – hold tight to the love of the art we champion and create and good things will follow.
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
JAMES: For me it’s alignment of narrative, tone and messaging, executed in a unique and effective way. Something that stands out creatively yet still nails the goal of the spot.
MASA: Huge thanks to you James for sharing your insights and for being part of this year’s jury. Your perspective on storytelling, instinct, and that ‘undeniable’ spark in a track really gets to the heart of what great sync can do.