I write, produce, and direct work at the intersection of music, media, and brands.

I’ve spent fifteen years at the intersection of music, media, and brands, writing and shaping the voice of culture-forward work across editorial, podcasting, and sonic identity.

With a background in literature, music technology, DJing, and radio production, I joined Resident Advisor’s editorial team as Tech Editor. Based in Berlin, I wrote and edited longform series on production and craft like Industry Standards, traveled to Japan to report first-of-their-kind features on Korg and Roland, and led RA’s Exchange, conducting extended interviews with artists like Nina Kraviz and Paul Kalkbrenner, and bringing live episodes to clubs and festivals across Europe and North America.

At Red Bull Music Academy, I was the first Producer hired to their New York studio, co-creating shows like Counter Intelligence, a documentary series on record stores recorded across six continents, and Give the Drummer Some, which brought session legends like Questlove and Bernard Purdie behind the kit to demonstrate their craft.

My audio storytelling experience brought me to Microsoft, where, in collaboration with the sound-focused creative agency We Are Listen, I developed four seasons of the brand’s flagship creative technology podcast, In Culture, then created Tools and Weapons, an interview series featuring Microsoft’s Vice-Chair and President Brad Smith in conversation with figures like Trevor Noah, Jacinda Ardern, and Maria Ressa. My team and I grew Tools and Weapons into a globally charted series on Apple Podcasts and Spotify.

As Creative Director at We Are Listen (which later joined Premier Music Group), my role expanded to bridging the strategic goals of major brands – including KAYAK, Spotify x Burlington, and the relaunched Slice Soda – with the artistry of our sound design and production teams. I wrote positioning and voice for clients whose sonic identity work needed to translate into language as clearly as it did into sound. My favorite part of the work is cracking open what is often a black box for clients, exploring sound’s potential to forge emotional, memorable connections with their audiences.

When I partner with a client, I’m looking to create work that doesn’t just provide a foothold in culture but genuinely adds to it – that is authentic and wouldn’t exist any other way. When I’m not at my desk, in the studio, or out in the field, I’m working on my tennis game, reading and writing literary fiction, and digging through Discogs and Bandcamp for that next life-changing track.