May 2024
Originally from Poland, Ewa started her advertising career in 2004 at Cut & Run, London. After stints at Scramble Sound London and Cut & Run New York, she spent the next 12 years as Executive Producer at Finger Music in New York City. Currently based in New York, Ewa is a freelance Executive Producer for Felt Music, London.
Over the course of her career, she has produced spots for, Levi’s, Mercedes, United Airlines, Facebook, Intel, Microsoft, Airbnb, Estee Lauder, AKG headphones, Coca-Cola, Delta, Ford, Gucci, L’Oréal, Pizza Hut, Calvin Klein, Dodge, Southwest Airlines, Bobbi Brown, BMW, and Google, to name a few.
Let’s find out more…
MASA: Can you share a bit about your journey in the industry, leading to your current role as Executive Producer at Felt Music?
EWA: My introduction into the ad world was as a receptionist at Cut & Run London, 20 years ago. After becoming an Assistant Producer there, I moved to Scramble Sound London as Production Coordinator/Producer. But New York was calling, and after a few years I headed to Cut & Run NY. After that, I took a job at Finger Music in New York as Producer. This is where I spent the next 12 years, producing hundreds of jobs across a broad spectrum of clients and genres, eventually becoming Executive Producer and Partner. Currently, I’m a New York-based, freelance Executive Producer for Felt Music London.
MASA: How does Felt manage to stand out from the crowd?
EWA: Felt is a pioneer in 3D spatial recordings. Their dedicated division, Music For Headphones, pushes the boundaries of experiential spatial sound. Offering anyone with headphones the full immersive experience of being transported to another world, through multi-layered dimensions of sound. It’s very cool. You need to hear it for yourself.
MASA: Sounds awesome. Can you tell us a little about what you’re currently working on?
EWA: Let’s just say, it’s very musical.
MASA: Intriguing! And next question… as the Executive Producer, what is your specific role in shaping the overall creative process, and how does this collaboration unfold with other team members?
EWA: I’m huge fan of original music and always push for an original score. After getting briefed by the client, one of my favorite parts of the job is finding the best talent possible, to bring it to life. After all these years, I’m still always excited to hear what the composer comes up with.
Right now, I’m working closely with Felt’s music supervisors in London. I’m the gate keeper for all of the US work. If a music search is required, I reach out to our music supervisors to get their take and see if they have any gems to submit. I also do music searches myself, submitting work from all my composers on this side of the Atlantic.
MASA: Is there a project that stands out as particularly memorable or challenging in your career? What were the key takeaways from that experience?
EWA: Over the years, several projects spring to mind. I loved working with United Airlines for almost a decade. Collaborating with a wide variety of composers to create unique and innovative takes on United’s iconic theme, Rhapsody in Blue. For instance, recording an orchestra in Budapest for a global rollout with the clock ticking and zero room for error.
That said, I think AKG headphones featuring Quincy Jones, Jon Batiste and several other musicians of note, might just take the cake. Obviously, the opportunity to work with such legendary musicians was a huge thrill. But what stands out in my mind, were endless revisions we made to get to the perfect track. It was a lesson I’ve never forgotten. There’s nothing more rewarding than getting it right.
MASA: In the rapidly evolving landscape of music, what trends do you find most exciting? How do you adapt to stay ahead of industry shifts?
EWA: Artists are increasingly refusing to be pigeonholed. This is leading to a creative explosion across genres, which I think is great. I absolutely love the blending of musical styles. Blurring the lines between Folk, EDM and Hip-Hop for example. It’s a trend that’s reshaping music. I also embrace the current movement of going back to vinyl and cassettes, the historical tools. I think this in particular, illustrates how people are also looking for a more tangible, authentic musical experience in an overwhelmingly digital era where AI plays an ever-increasing role. I see AI in music as a device that enhances creativity and opens up new possibilities. Something artists can use to explore uncharted sonic hills and valleys. AI doesn’t replace human creativity, but rather enhances it. Regardless of where you stand on this debate, one thing is clear, AI in music is the future.
MASA: What advice do you have for aspiring producers and composers looking to make their mark in the industry?
EWA: Know the classics. Pay attention to the trends, but don’t try too hard to follow the crowd. Don’t be afraid of doing things differently.
MASA: How do you think a competition like The Music+Sound Awards impacts the industry?
EWA: Competitions like these set the bar for excellence and are important to artists looking to break rules and innovate.
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
EWA: I don’t know off-hand, but I’m sure I’ll know it when I hear it. A great track or score is more than music. It makes me feel something profound on an emotional level. Of all the ways to appeal to people and stimulate their emotions, I find music works best.
MASA: Thank you so much, Ewa! It was fantastic learning more about what you do and how you approach your work. We're thrilled to have you judge the Awards this year. We know your expertise will be invaluable.
Find out more about Felt Music HERE
