5 Minutes with... Alex Henke
With a career spanning over 15 years, Alex Henke has witnessed firsthand the shifting trends in music for commercials. As the founder of Skill Music, he has helped global brands like BMW, LinkedIn and Audi develop unique audio identities, all while navigating the tension between artistic expression and commercial requirements.
Here, Alex catches up with LBB’s Olivia Atkins to delve into how music has evolved to meet changing consumer preferences, the rise of purpose-driven branding, and the future of commercial music in the age of AI. He also offers his perspective on the critical role music production plays in creating emotional connections between brands and audiences.
LBB> You've been in the industry for over 15 years. How have you seen music trends in commercials evolve during that time, particularly in terms of style and messaging?
Alex> We have seen a few shifts in the use of music during that time. Back in the ‘90s, brands used to compose a lot of very catchy originals for themselves. You had all kinds of TVC ‘hits’ that people above 30 still remember to this day. Then there was a phase with stereotypical styles for certain industries, like Dubstep or Woodkid-inspired ‘stomping and clapping’ for cars, indie music for communication, followed by everyone wanting to catch the hip-hop train.
Today, KPIs are becoming more relevant than ever, and original music and covers are king. So the message has evolved from ‘we are we’ to ‘we are trend’ to ‘we remember as well.’
LBB> At Skill Music, you've worked with iconic brands like BMW, LinkedIn, and Audi. How has the role of music in shaping brand identity changed over the years, especially as consumer preferences evolve?
Alex> It has changed with the medium. There are different studies out there saying different things about the impact of audio in social ads. Some say it helps, while others say it even lowers the impact of ads.
As CMOs are more driven to back everything with KPIs, there is a strong feeling that music has to deliver for performance marketing as well. That might be true, but speaking of brand identity, we need to take bolder decisions – take the ‘Like A Bosch’ campaign as inspiration – to really own our sound and not just chase what others do.
LBB> The shift towards more sustainable and purpose-driven branding is evident. With your other company re•ell focusing on renewable energy, how do you think music production can help amplify commercial messages?
Alex> Music has always been a driving force for change and music artists have always had a tremendous impact on cultivating social change. With that being said, brands can make better use of the emotional value of music to bring more awareness to the future – especially to areas like the renewable energy sector, where most of re•ell’s customers work.
It's important to let people know that the future is not broken yet. There are existing innovations that can help turn the wheel, but these companies are often led by engineers and not marketing people. It's time to bring more awareness to what they do, and music is an excellent vehicle for emotionalising this message. It's one of the most important messages of our time.
LBB> What are some of the biggest challenges you’ve faced with balancing the artistic integrity of music and the commercial needs of advertising, and how do you navigate that tension at Skill Music?
Alex> I learned for myself that the challenge here is more of an internal struggle with meaning. As a creative director, your decisions might have a bigger economic impact on the lives of people than the last Ed Sheeran album. Still, no one will applaud you. Being a live musician for 15 years as well, I know that even the smallest newcomer gets more love from fans than a CD that helped secure the jobs of thousands.
So, at Skill Music, we want to be that fan. It's alright for us to show every possibility to the campaign team and then go back to number one if necessary. These people don’t want to kill your art; they just need to make an informed decision.
LBB> Craft and production are at the heart of what you do. Could you share how you ensure a high level of quality and originality when creating music for commercials, particularly in an industry that demands fast turnarounds?
Alex> ‘Music is art, sound is engineering’. I read that George Martin, the producer of the Beatles, said that.
One of the most important things is skills, actually. I see some people that work in the industry who might miss the technical side of sound. Quality is a craft here. On the other hand, originality comes from being original. We have great producers who work for artists like BTS, Taylor Swift, Zoe Wees, and many others through our Boogie Park Studio. They can come up with an original score, and then let someone else from our team, who is better at adapting to the needs of the client, finish the job.
LBB> With the rise of AI and other new technologies in music production, where do you see the future of the commercial music industry going? Will there still be room for the kind of ‘real music from real people’ ethos that Skill Music values?
Alex> We used the first AI models and I know for a fact that we are a company that can use Eleven Labs & Co to the max. You need someone with skills to use these tools. A fool with a tool is still a fool.
AI will disrupt a lot of the marketing sector in the years to come, but I won’t be the painter who is whining over the invention of the photo camera. People want to work with people, and in the end, people will buy products. There will be a lot more AI assets, then it will swing back a bit because people will get bored, and the industry will look different, with a lot of routine work gone. All good.
LBB> Looking forward, how do you see Skill Music and the broader advertising music industry evolving over the next decade? What role do you think music production companies like yours will play in shaping the future of commercial sound?
Alex> We at Skill/Boogie Park have been in almost every genre in the last 20 years. I think music and audio fans are a target audience that many brands want as their customers. We want to evolve into an agency that has the cultural knowledge and the skills to connect you with music fans all over the world.
Every genre is different; even fans of certain artists are special. You need to know that and translate messages into their language. For this, you need credible players and love for the customer. And there is a lot for us to do here.
