Posts filed under Music Licensing

"Say Hello" to Feeling Good with David Grumel's Latest Single

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French composer and multi-instrumentalist, David Grumel dabbles in everything from epic orchestral music to playful pop. With the release of his latest single, “Say Hello” his work offers listeners an uplifting escape, a lighthearted and reflective song that transcribes how a silver lining would feel like.

Read on to learn more about Grumel’s music compositions and his experience with making music for commercial use.


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Marmoset: Can you paint us a picture of how you began making music?

Grumel: I have a fairly unusual musical background, having studied classical piano, then very early on amplified music with a first gourd instrument at 11 years old. I recorded my first song at 14 and then did a short course in sound engineering. After that I spent a lot of years with different groups, in studios and concerts, with not a lot of success. Then at 31 I signed my first record deal with Universal Music and French independent label Naïve, for my first solo album. From then on I started being able to live from making music. I set up a recording studio La Song Factory with my friend Jérémy Rassat and started making music for film, TV and commercials. 

M: How would you describe your musical style? 

Grumel: It’s an artisanal kind of bespoke pop music, in the broad sense of the word. I’m as comfortable also doing electro, classical, folk, jazz or minimalistic solo piano. That's what I like, the eclecticism. It's always hard to define what you do instinctively. I am always guided by the emotion I feel when creating, as long as its sincere. 

M: As a composer, it seems like you've worked on everything project under the sun — from film to TV shows to advertising campaigns. Can you offer a sneak peek into what your creative or technical process looks like?

Grumel: I’ve been lucky enough to work on a vast spectrum of projects, but I always treat every piece of music I make as a unique prototype — nothing is ever a given. 

In terms of process it’s pure chaos at first, that’s the beauty. I explore every road, testing, changing, moving parts around, it’s by no means an exact science! The most important thing is to keep the process instinctive  and non-technical. Staying true to my what I feel, nothing else. It's like putting pieces of a puzzle together, but without the instructions.

Then usually after a few hours a direction comes through, a color and a structure. From that moment on a clear idea of where I want to take a piece of music becomes apparent. I almost always work alone, so it’s that initial solitary process that gives birth to something universal that you can share with so many people that makes it so interesting.

"To compose is to remember music that has never been written." — R. Schumann

M: What's a project that you're particularly proud to have been involved in?

Grumel: I support an association by the name of 7th Continent since it’s beginning. It raises awareness and works on the growing problem of plastics in our oceans. I worked on the music for their film, which you can see here —

Learn more about 7th Continent here.







Grumel: Musically, I think my solo work is what I’m most proud of. But of course I’m proud of any piece I feel I’ve successfully finished, whether solo or in collaboration.

I just finished working on the production of the second album of a Tahitian artist called Vaiteani and I had such a great time. I get real joy out of helping the artist complete their vision and getting them to their happy place because you then see it so clearly in the end result, it's fantastic. It creates very intimate bonds. The loyalty and rapport I have built up with many artists, composers and collaborators over the years also makes me very proud.

And of course when someone listens to and loves your music, that makes you happy and proud. Often it's the last project I worked on that seems the most successful to me because it means I’m still growing as an artist and that’s always a good thing, so I guess it’s a mix of all that.

M: Your single, "Say Hello" comes out today. Can listeners expect more music like this from you?

Grumel: I’m really excited about “Say Hello”, it’s already received a very warm welcome from the music industry and my peers. I collaborated with my good friend Neeskens on this, his voice just seems to blend in so well to the musical landscapes I like to create.

You can check out another track we worked on together called Back Into the Light here. I’m always excited about sharing new music, it’s like revealing different parts of yourself every time. I always like to mix it up, keep myself and listeners on their toes, so I can’t say for sure if there’ll be more songs like this, it’s really an organic process for me each time which starts with a feeling. Although I suppose there is always a trademark sound in there somewhere, something that defines you sonically as an artist.

M: As someone who crosses over between all different kinds of projects, what's something you'd pass along to other aspiring artists looking to break into composing for film, TV and commercials? 

Grumel: The only advice I could give is true for any aspiring musician: stay true to yourself and your artistic integrity in order to preserve who you are as an artist and your unique sound. Develop and nurture your craft obsessively, be passionate, be generous, have an opinion and be curious, fail a lot, never give up and good things will come… maybe!


Grumel’s single, “Say Hello” and more of his work is available for music licensing and commercial use on our roster here.

Creating Space and Solace, ePP Drops "There’s a Place for People Like You"

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Marmoset artist, ePP cultivates community through his music — his latest album There’s a Place for People Like You carries a message of togetherness, to aspire for the best while hoping others make it too. Each song is magnetically intimate, a close up account of what makes him tick.

While his latest compilation can be categorized as hip hop and rap, his love and pursuit of rock music shouldn’t be minimized; it’s something he still invests his creative energy into, a part of the roadmap that defines his present arrival.

Stepping outside the boundaries of what others expect or require of him, ePP stays true to his message of authenticity. He doesn’t make music to fulfill what others envision for him — instead embracing hardships, channeling them into creative expression not merely for creative accolades but for others seeking solace or comforting resonation.

Sitting down to chat with us, we’re even bigger fans of ePP now than ever. Read on to learn more:


Marmoset: Hey ePP, thanks for sitting down to chat with us. With your latest record, There’s A Place for People Like You now on our roster, we wanted to dig a bit more into your background, influences and where you’re heading. Looking back at your origins, you moved to Portland from Georgia, right?

ePP: Yes, that's right. I always kind of dabbled in making music but I didn’t really start recording until I was in high school. It wasn’t until college when I was sitting down in class and I was like, “I don’t want to be here.” I don’t want to say it would have been a waste but in the long run, what I want to do and how I want to impact people’s lives and my own life has nothing to do with a piece of paper saying, ‘hey good job.’

Marmoset: Can you take us through what it looked like getting started in music?

ePP: I wrote my first song when I was 11 years old, I didn’t know what I was doing. I had like a Casio keyboard and was just playing some stuff. Fast forward to high school, there’s like a really close friend of mine, he made beats and then we met with some kids from Vancouver who were into skating. So we had that in common. It started with meeting up with another crew of kids and it’w how I got started writing rock music, because it was my favorite genre. So 16, 17, I was straight up writing alternative rock stuff, maybe what you’d call hardcore stuff as well.

Marmoset: It’s like you realized you had something to directly offer back to your community through your own art.

ePP: Yeah, definitely. I agree with that. That’s kind of where my head was at. When you’re young especially — I don’t come from a family that says, oh you need to go to college in order to do something — it’s more about finding the route you want to go and my family still saying, ‘ we support you.’ Needless to say, I came from a very supportive family — kind of confused, like ‘eh is this really what you want to do — but still definitely had the support that led me down the road to doing what I want to do.

Marmoset: Were there other people in your family that were involved in music?

ePP: No, nobody. My 16 year old cousin who’s going to school in France right now is the only other person who’s musically inclined. I mean, growing up music was always playing, it was always around. But no one in my family really liked to play music.

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Marmoset: With your new album, There’s a Place for People Like You being hip hop and rap orientated, could you share more about your interest in rock music? What attracts you to that genre specifically?

ePP: Rock music in general I’ve just always connected with it. And there was a time where a black kid coming up, it was frowned up pretty much; like ‘you’re trying to be a white boy etc. etc.’. But no that’s not it, it’s just what I like, it’s just music at the end of the day. And it’s what I connected with.

Marmoset: It sounds like you really have a good circle of friends but always looking ahead and trying to connect with your community. How does staying connected with people and being open to collaboration mean to you?

ePP: You know, people will hit me up through a DM on Instagram like, ‘hey man, I’m in this band or I play this instrument and would love to meet up’ — and I think, why not? Because there’s going to be a time when no one’s going to want to do shit with me. That’s just the progression of life. There’s going to come a time when your friends no longer hit you up because they’re parents now and they don’t have the same time. So while I have the opportunity to be part of cool stuff, I’m going to be a part of as much music related situations as I can.

Marmoset: Living in Portland, Oregon, there’s a lot of change on the music front end. How do you see your music contributing to the community?

ePP: I’ve definitely seen that change happen firsthand. You know, 10 years ago I wasn’t in a group or anything at the time but I was still kind of doing music, you know I was young so I was just working a regular job. The way it was then, if you were better than other people, others were kind of jaded, jealous and weird. And I think it helped me and the group of people I was working with to make us better, because we knew there were only a handful of people who would help other artists answer questions.

I have a very open phone policy, like if you have questions or if there’s anything I can do to help, I wanna be that person. I don’t want to be closed off. Any artist who comes in and asks questions, I’m always willing to listen and do all I can to help. And it’s never ‘oh I did this and I did that’ for me. I check in, I go to shows. Because I really want to be there and I really believe in the people that are performing, I just want to help as much as I can really.

Marmoset: We love your spirit in that kind of coming together, sticking together.

ePP: Well, that’s the only way. I had like that conversation recently. It was just about how the only way that things will get better, the only reason why this is community has gotten better is because people realize, ‘ let’s get off this ego shit, let’s work together, let’s progress.’

It’s about saying, ‘cool, this person’s a lesson learned in how they got to their spot’ instead of being jealous. No one wants to deal with a jealous person, you can come up together and there’s enough money for everyone to get. You know, if you don’t like someone that’s fine, I know some people don’t like me, I don’t care. You know, I’m out for everyone. But the people who do appreciate me and rock with me, that’s what it is.

You can form and build community by being inclusive, not trying to act like gatekeepers — that’s how things should be at least in my eyes.

Marmoset: We agree, it’s a good thing to practice, just applying it day to day. It’s kind of humbling in a way to remember we all share a space.

ePP: It’s really humbling. You look at bigger cities like LA — so many people I know directly who are rivals but they all work together because they realize we can all grow from this if we stop trying to segregate. Portland’s already a really white city, you don’t need me to tell you that, you already know that. But regardless, I’m going to get mine so if I can help people get there too, that to me means way more.

It’s never been about the money. I don’t care about that shit, it’s all about making good music and adding to the community — not taking away. It’s like a real cultural thing.

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Marmoset: What’s the story behind the title of your new album There’s a Place for People Like You?

ePP: I’m going through a lot, some of my closest friends have also been through some really tragic and tumultuous things. I pretty much scrapped two iterations of the album that I had; I really want to write from an honest, transparent place and I wanted the beats to match that. We all have days where we feel like shit and then we have days ‘I’m a bad bitch’ you can’t tell me anything. And I think I wanted to encompass that in the album — to make it feel and sound like a movie. Even though the songs are different, I wanted everything to blend and be cohesive at the same time.

Because I feel like the stuff that I went through, if I can be honest and talk about it, I know that someone else is going to relate to it too. And it’s never been about ‘what are my listeners going to like’. The people who like my music already will like my music — because it’s honest music. And I think we’re in a time where making honest music is at an all time high.

Also when you get older, you realize ‘hey this is what I’m good at’ I should stick to it and write it out, regardless of the hardships and everything that comes with it. But that’s just life and what is life without experiences and a story to tell.


ePP was announced #7 Best New Band by Willamette Weekly.

Discover the Best Undiscovered Music for Commercial Use: Bells Atlas

Marmoset presents miniature music concerts — a new series where we invite talented, touring and local artists into our space to capture a stripped down performance of their music.

Cultivating a floating landscape of sounds, surrealism guides Bells Atlas; their latest album The Mystic offers layer upon layer of abstract electronic textures and charismatic lyrics, an open exploration of pace and rhythms, likened to jazz’s uninhibited perimeters. Front singer, Sandra Lawson-Ndu’s vocals help define the band’s cosmic DNA, aesthetically blurring the lines between psychedelic rock, electronic pop and soulful R&B.

In Bells Atlas’ mini concert performance here at Marmoset, the group expresses creative agility throughout their performances of “First Gen Pisces” and “The Khamsa” — it’s an imaginative range between ebbing, alluring energy to great emotional force.

Click play above to watch/listen their performance of “The Khamsa”, then head over here for an exclusive mini concert look at their performance of “First Gen Pisces”. Read on to discover the subtextual meaning behind their two songs.


The meaning of “First Gen Pisces” in the words of Doug Stuart:

First Gen Pisces

In short this is about a mind inundated by expectations of how to exist in this world, and woven into that is a pool of fear, memory and fantasy. And then there’s sleep, a temporary path to peace of mind.

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The meaning of “The Khamsa” in the words of Sandra Lawson-Ndu:

The Khamsa 

This drifts between images of dreams, spirituality, and imagination, and the space they share in connection with the intangible. The song is about making space for each other's beliefs and being open to varied lenses of experience.

"People like you enrich the dreams of the world, and it is dreams that create history. People like you are the unknowing transformers of things". — Ben Okri, Nigerian poet and novelist.

The word Khamsa translates to five” or “five fingers” in Arabic—this is probably a symbol that you’ve seen many times of an open right hand often with an eye in the center. In many faiths this symbol is seen to bring about happiness and peace while protecting from the evil eye/ negative influence.

A Mini Concert ft. Bells Atlas: the Cosmically Soulful Band to Know

Marmoset presents miniature music concerts — a new series where we invite talented, touring and local artists into our space to capture a stripped down performance of their music.

Bells Atlas’ sound is a combo of mystic charm and soulful, experimental pop. They get you moving through creating a space that feels wandering, inquisitively open and exploratory.

As big fans of their music, when the touring stars aligned, we leaped at the opportunity to host Bells Atlas at Marmoset headquarters; hanging out in the space, they have a natural ease about them. In their stripped down performance they completely make the space their own, singer Sandra Lawson-Ndu’ vocals rule over everything else.

Check out Part One of their mini concert above, then dig into our conversation with the band below:


Marmoset: If you had to pitch Bells Atlas' sound in a sentence, what would it be? 

Derek: The rhythm of orange creamsicle earthquakes and melody of melted lava astrological comet-chords. 

M: If you could attend any musical event in history, what would it be?

Doug: Miles Davis at the Cellar Door in 1970. 

M: Who are some filmmakers, artists and other musicians you look to for inspiration? Do you guys ever pay homage to anyone with your work? 

Sandra: Speaking on this album (The Mystic),  I was very much inspired by authors and other creatives that use sci-fi fantasy or even surrealism to observe our own realities. 

For me, the best ones somehow have the potential to spark inspiration for how to interact with each other and create a sense of openness to what is possible, drifting further from an idea of acceptable norms. Ursula Le Guin, Phillip Pullman, and Sharon Shinn are authors that inspired me early on. More recently I’ve been inspired by amazing  shows like Atlanta and Random Acts of Flyness, or authors like Octavia Butler and Akwaeke Emezi who present surreal and fantastical work in which black and brown folks are often central characters. 

M: What would you say is "the heart" of your new album, The Mystic?

Sandra: The main heart of the album is really the fact that we get this opportunity to write together as a band and this music is a reflection of how we've grown in that process and also how much we love it.

Thematically this is very much inspired by a connection to someone in my life who sparked my love for storytelling and my interest in both the mystical and the fantastical. In my eyes they have alway embraced and embodied intangible realities. When they began to struggle with their mental health they still held that magic as a truth-seer and a storyteller. This narrative exists in some of the songs in the album but it’s really the questions that resulted that are the basis of many of the stories here :  what expressions needed a diagnosis? what caused pain versus what was the result of a different way of interpreting life and offering new paths of seeing? what was clinical vs mystical? How do we make space for each other's beliefs and varied lenses of experience.

M: There's something refreshingly experimental and kind of psychedelic with your music + visual work — how does the band try out new ideas? What does a creative session look like when writing new music or making a music video?

Geneva: Trying out new ideas is perhaps one of the binding qualities between all of us.  I think this creative collaboration is, in some part for all of us, an arena to do that.  

Something with The Mystic in particular, for example, was approaching a new writing technique which involved creating more from a studio production approach.  It was less about being behind our instruments and satisfying the performative aspect, and more about crafting songs and thinking about the listening perspective; compounding elements and sections of each song one at a time.  It kept things fresh and offered a new perspective on creating together, which is something we've never really been adverse to.

When it comes to visual elements for the band, there are usually a series of ideas thrown around, or perhaps just one, and then we dig deep into that world.  So the fuzzy masks in “Be Brave” started with a photo shoot we did years ago.  We honestly wanted to try getting away from having to photograph our faces together 'cause we all felt like we photograph and facially express so differently that maybe nullifying our faces would help execute something simply and quickly.

Kinda funny thinking about it in retrospect.  But the cool thing was, we were able to insert something psychedelic and fantastical instead and sort of recreate our identities. Or perhaps give some deeper meaning to our identities.  Anywho, the director took that that fantastical idea and ran with it, which we supported fully along the way.

M: We loved having you here at Marmoset, your music is so immersive — whether listening to it with your headphones on or witnessing it performed in person. How do you guys get in the right mindset before a show or wind down afterward?

Geneva: This varies depending on who you talk to.  I think there's inevitably some kind of socializing happening, but as the set time approaches, some of us zone out in the green room and do vocal warm-ups or stretch. 

Some people get some fresh air or take a walk before or after the set before greeting people. There's almost always food involved somewhere in there between soundcheck and showtime.  It definitely helps to get grounded and clear the mind in some way!  Our music is fairly involved and requires some kind of "zen" state for each of us in some way, whether that means channeling focus or just letting yourself open up your intuition and feel your way through all the nooks and crannies the music takes you to .


Check back on Monday when we dig more into Bells Atlas’ song meanings and another release of their exclusive performance.

Posted on June 14, 2019 and filed under Artist Spotlights, Music, Media Coverage, Music Licensing, Marmoset.

3 Tips for Running Your Creative Project Like a Boss

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Imagine managing a project and never running into snags or roadblocks — everyone takes ownership of their roles and every process runs smoothly all the way up to the finish line. Such a world exists! Teaming up with our friends at Wipster, we’re bringing you three important tips for streamlining communication and collaboration.

Just like how we know how to support our clients find music for videos, our friends at Wipster know a thing or two about getting everyone on the same page. Here are their three tips for working with clients on video and creative projects.


Every filmmaker strives to make their videos both creative and unique while also fulfilling the business goals of their client. The balance, however, between creativity and goals can be a fine line to walk when there are many cooks in the kitchen. So what are the best ways to set up your video for the ultimate success without losing your creative touch?

Let’s dive into the three ways to best manage your communication with your clients so everyone is happy!

The Creative Brief and Pitch Deck

When your client comes to you with a project idea, it’s best to work with a representative from  your client’s organization to draft a creative brief. A creative brief should include these three core components: the target audience, call-to-action, an overview of the video’s goals and objectives, and the production schedule or any hard deadlines.

The creative brief then becomes the backbone of the project and the starting point from which you can make your pitch deck.  

A compelling pitch deck should include the following:

  • An intriguing tagline the summarize the video (this is also known as a log line)

  • The Technical Style: How will the video be made? In what style? Animation? Live Action?

  • Voiceover Script (if any)

  • Reference and/or Inspiration videos and music

  • And mood images

Pro Tip: Include musical links or samples in your brief as well! Music is such a key component for the mood of your project and it will help your client understand the tone of the video.

Once the client approves the pitch deck, then formalize the agreement.

Formalize the Agreement

If you’re a freelance or agency, I’d highly recommend creating an agreement template that includes the production fee, deadline, and has your creative brief and pitch deck attached to it.  

Before the agreement is signed, it’s important to make sure all stakeholders approve the brief and the pitch deck. This means asking your client, “who is the person at the top of your organization that must approve the video before it goes out?” Make sure their bosses’ boss is involved so that way there are no surprises when the final edited video reaches their desk for approval.

Of course, as production carries on things might shift or change slightly in the production. That’s the nature of production! But at least you can use the agreement as leverage to go back to hold both yourself and the client accountable.
In your agreement you can list out the number of feedback cycles included in the cost production. Typically two rounds of edits is the norm unless there are any outstanding typos.

Then send it out for signature!

Use Wipster for Review and Approval

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Once your video is ready for review, there are a lot of ways to share with your team for feedback. If ever in the face of a tight deadline or pesky varying timezones, getting quick revision notes can seem challenging. But the workflow can keep flowing even in the collaborative process when using Wipster to send your video for feedback.

The creative feedback and collaboration features of Wipster allow your client to leave secure and private notes directly on the video, rather than feedback via an email chain which usually consists of a list of time-coded comments.  

From Wipster, you will get notified when your client has viewed and finished commenting on the video, making the process seamless. And all feedback will be time-coded and nicely fit into one place.

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Pro Tip: Before you send your client a Wipster link to review remember to inform them what Wipster is — so they understand what the tool is for. Remember, no surprises!

You can also send your client this list on how to give constructive feedback. More communication is better than none! Keeping everyone on the same page will not only ensure that your project succeeds, but also make your video client happy.

Once the video is approved, Wipster can also be the file delivery method. You can enable the client to download the original and approved video file.

The Wipster team is constantly working to improve feedback loops. If you’re interested in trying it out, sign up for a 14-day free trial. Happy video making!

Uncovering the Podcast License Pt II

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Our clients come from all walks of life—and industries—yet they all share a common mission: too find music that serves their content’s purpose.

We’ve spotlighted everyone from independent filmmakers whose work has premiered at Sundance to Tribeca and dug into the stories of music video directors and producers. But what about the non-visual creative projects that also make the world go ‘round?

Kicking off our Uncovering the Podcast License series last week, we looked at the number of ways music and sound can serve a podcast’s narrative and theme—how licensing the right music can intrigue listeners to tune into future episodes, while creating a signature experience for the show’s overall brand.

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Audio producer and podcaster, Megan Tan knows a thing or two about licensing music for her esteemed podcast, Millennial—a notable series on growing up and finding a place in the “real world.” While Tan wrapped up the series a couple years back, the show has been recognized by publications like The Atlantic, The Huffington Post and A.V. Club, it remains to be a relatable series that can be applied to today.

Now living in New York City, Tan is still a producer, working on Gimlet Media’s The Habitat, NPR’s Planet Money and on a Pineapple Street Media podcast. Through her podcast and productions, Tan has utilized music and sound design to cultivate an immersive environment strictly through audio.

We sat down with Tan to look back on her arrival in podcasting (when it was still new and expansive territory) and her experience in making the hit podcast, Millennial:


Marmoset: Could you give us a look into what it was like before you made your first podcast

Megan Tan: Basically I wanted to be a radio producer and I had an internship at NYC Radio Lab for a semester but I didn't actually make radio, I didn’t know how to make radio. And my background is in photo journalism—and in photo journalism, what you do is, you go out and you shoot, right?

You Take photos and you create a portfolio and then people can see your work and then they can hire you. So I guess I just took that idea and decided to apply it to this new industry and Millennial started out almost like a portfolio piece; because the closest thing that I had was my life. I just wanted to practice collecting audio, interviewing people, writing scripts, mixing, making episodes and making radio stories.

M: What did it look like leading up the Millennial gaining more momentum and attention?

Tan: The whole idea was that all the work that I was doing would be a portfolio to get me a job in public radio—which is dead. I ended up getting a job at New Hampshire public radio. There I was continuing to make Millennial, I had like almost two full-time jobs. I was making this podcast and then I was working full-time at a public radio station.

And then at one point the podcast started getting more praise and press than the shows at the public radio station. And I just kind of decided to make this leap and dedicate myself to doing it full-time.

M: Did you ever view making Millennial as a way of connecting with other people through your own experiences?

Tan: You know, that wasn’t the goal, because at the time—I don’t know how many podcasts there were, maybe 250,000—I mean, right now the market is really saturated, but even then you’re like ‘who’s going to listen to them?’ Right, so yeah and to be honest, because it was built from the ground up and a lot of the press was organic, I didn’t think anybody was going to listen.

Yeah, so when people were listening, I was like oh shit. A friend of mine just said to me last night, you know, sometimes the best dancers are the people who dance as if no one’s watching. I feel like that’s how Millennial was created. Where it was created in this way where I just spoke into a microphone like no one was listening.

M: Looking back, what did the evolution of Millennial look like from its creator’s standpoint?

Tan: It did evolve because it had to become more sustainable. That’s why there are multiple seasons, if you keep listening, we’re really trying to find our footing after we get past the first season. Instead of it just being a ‘Millennial, a podcast about maneuvering your twenties post-graduation captured in real time,’ it just becomes ‘Millennial, a podcast about coming of age.’

And so that is broader and the purpose was for it to encompass a lot of people’s stories. But the problem with that is, you know, once you give an audience a very specific character to care for—which was me— the less personal you become. It was also the identify that was changing in real-time, as well.

The purpose also changed. It was no longer a portfolio or a personal essay about growing up or a personal documentary. It also has to become a machine, had to be able to live off it full-time and pay people—it became a business. So the mission had to kind of change a little bit. 

M: What did the ‘making of’ such a successful podcast look like story-wise? How did you decide what content to focus on as a millennial yourself?
Tan: We had a bit of a formula but each episode was different, you know? Hopefully the entry was some sort of peg to my life. Whether it was long distance relationships or being Asian in a very white setting.

And then we would try to branch off, maybe do other people’s stories sometimes—it was still my story. And I would just collect tape all the time. Like if I was still making Millennial, I would say, ‘hey do you mind if I record our conversation?’

M: What’s an episode that stands out in your memory as one of your favorites?

Tan: I really enjoyed making “Brunchies,” which is the third episode, because it’s purely sound. I lavved myself when I was doing a shift one day, so I have sounds basically from an entire work day compressed to like two minutes of audio. It was just kind of fun to create that scene with all of that tape.

M: We know you’re busy plugging away in New York—what kind of projects do you have in the works right now?

Tan: Since wrapping up Millennial, I’ve helped produce Gimlet Media’s The Habitat, then there’s also Pineapple Street, they did Missing Richard Simmons; I helped them produce a couple of those shows. I helped them produce Going Through It with Ann Friedman of Call Your Girlfriend. And then also another show called The Unwinding of a Miracle and worked at NPR’s Planet Money. And just recently reported on a piece for NPR’s All Things Considered.


A big thanks to Megan Tan for taking us behind the scenes in making Millennial—it’s just one example of great podcasts utilizing music and sound to create an immersive audio experiences. Check out the full series here and more of her work here.