June 2022
Former drummer, who’s played all over the world with La Femme, Brian Jonestown Massacre and Black Angels, Tijuana Panthers and Singapore Sling, Adam was a founding member of rock band Wall of Death. He lived in Los Angeles for many years where he collaborated with legendary acts such as Cage The Elephant and Hanni El Khatib.
Adam Ghoubali joined BETC in 2021 to lead the music supervision department. He is in charge of working with record labels and musical artists to help provide scores and soundtracks for agency projects, and collaborating with producers to create original music.
MASA: How did you manage to get your break into the industry?
ADAM: I got hired by Fabrice Brovelli, VP of BETC. I met him when I was living in Los Angeles. It was never a goal for me to work in advertising, but I was always very attentive to the music chosen in commercials and when I moved back to Paris, Fabrice asked me if I was interested in the position.
MASA: How do you feel your time as a top drummer, touring the world, and experiencing all that that brings, has helped in your role at BETC?
ADAM: In general, I feel very fortunate that I got to tour with a bunch of my favorite bands around the world. It helps me in my role at BETC, because I got to meet hundreds of amazing bands and composers from the US, but also Morocco and all over Europe.
MASA: Can you tell us about a recent project that has bought its challenges, but has been a success by the end of it?
ADAM: I’ve worked on a bunch of interesting projects since I got hired here. I would say the challenges I’ve faced are generally linked with original scores. When you get closer to the deadline and something goes wrong; the music doesn’t please everyone, and you have to find last minute solutions. It can be a little stressful, but that’s what keeps us awake and alive!
MASA: Do you get the impression that the ad jingle is making a return?
ADAM: The jingle is here and has always been. At BETC, we still create a few of them every year. Jingles help define the sonic branding of a brand; they can be important. For example, some jingles that you hear will stay in your head forever, like the Bouygues Telecom one.
MASA: What new or emerging artists / bands are you listening to at the moment ?
ADAM: Absolutely. I listen to bands from the indie rock scene, UK and US, a lot these days. I love that guitars are coming back. Such as Dry Cleaning or Fontaines DC. I always keep my ears open for new music. It’s important for me to listen to all styles of music.
MASA: If you could, what would you change about the licensing business ?
ADAM: If I could, I would get rid of needing rights’ owners’ approval. Just kidding. Seriously, I would love it if we could get a ‘Get In Touch With The Rights’ Owners’ button directly on Spotify.
MASA: Do you have a musical hero?
ADAM: Yes, Damon Albarn and all the members of The Good, the Bad and the Queen.
MASA: How do you think a competition like The Music+Sound Awards impacts the industry?
ADAM: It is always pleasing to see how your work is seen and perceived. Also, sound design and music sometimes tend to be overlooked in other awards competitions, so it is great to focus on these aspects that can be essential to the quality of some work.
MASA: What will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
ADAM: I will be looking to see whether the music is in harmony with the overall ambiance of the film, as well as the synchronization points, and the balance between the sound design / voice-over and the music. And after two long years of Covid, I cannot listen to another piece using sad pianos or melancholic music.
MASA: Fantastic Adam, thank you very much for your time here. It’s a great pleasure to have you on the 2022 jury. Hope you enjoy the experience!
Find out more about BETC HERE
