Renée Massé’s Journey to Rediscovering Her Voice
Originally from Canada, Renée Massé is a music industry veteran with a decade of experience as a producer and music supervisor. Under her leadership as executive producer out of New York and one half of BUTTER’s fully woman-led executive team, she has delivered original music, sync partnerships, and more with award-winning campaigns for Taco Bell, Nintendo, Lay’s, State Farm, and Supercell, as well as the sonic branding for brands such as Discover, Mountain Dew, HelloFresh, and DSW.
After receiving her master’s degree from New York University in music business, Renée oversaw the music department as music supervisor at the award-winning post-production studio, Headroom, where she also launched a covers division and master library focusing on the production of covers for licensing opportunities recorded by talented, unsigned artists. Renée currently serves on the Women in Music organisation committee as global vice-chair of partnerships and development.
Renée sat down with LBB to chat about why emotion is everything when starting a project, championing upcoming artists, and the importance of finding a way to connect with what you are creating…
LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down, and how do you like to generate your ideas or responses?
Renée> Emotion is everything. When beginning a project, we first establish the emotional takeaway we want viewers to have upon watching the film. From there, we can zero in on the musical approach that best conveys it.
There are many possible instrumental routes in, but as long as we can achieve that desired feeling, we've succeeded. For example, if we are looking to communicate optimism and determination, a beautiful and moving string score may be an effective approach. In other cases, less is more, and a score focusing on an absence of sound with a sparse ambience can also provide the desired effect.
We aren’t afraid of asking questions, and we tend to ask a lot of them with our clients to hone in on these emotional beats. Often, expressing these feelings might be difficult (especially in musical terms), but we specialise in translating clients' answers into musical guides that inform our composers' works.
LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity - what are your thoughts on this? Do you prefer to work solo or with a gang, and what are some of your most memorable professional collaborations?
Renée> Due to technology and remote/hybrid work allowances post-pandemic, we are lucky that our employees can do their jobs from anywhere. That being said, at BUTTER, we definitely encourage collaboration between our composers and producers, and I believe this collaboration is something that sets us apart in an industry consisting of many freelance specialists. For example, our in-house composers have a weekly Zoom meeting to discuss the newest VSTs and updates to their DAWs, walkthroughs on vocal mixing, string arrangements, and provide direct feedback on each other’s tracks.
When we’re able to be in a room together and make music, it helps reinforce why we do what we do. To be a part of the creative process from inception through to the end product is an incredible feeling, and it’s when I get to flex some creative muscles. BUTTER’s founder and CCO, Andrew Sherman, is truly remarkable at creating music right before your eyes.
I’ve sat in the room and recorded in the booth with him as he’s put together a track in less than an hour – recording each instrument so seamlessly. It makes me feel very honoured to be a part of the team at BUTTER, as there is so much to learn from everyone's talents.
LBB> What’s the most satisfying part of your job and why?
Renée> Unequivocally, the most satisfying part is helping artists with opportunities that can make a huge difference in their careers. I’ve always enjoyed working with independent composers/musicians/vocalists and helping them get exposure in the ad world.
Securing a sync license in an ad can be the difference between an artist being able to go on tour or record their new album. This additional revenue for an indie artist is life-changing, so I love being a part of that and helping mentor them through the process.
My first roommate when I moved to New York started a record label in our East Village apartment: Dala Records. I helped review and provide feedback on his first licensing deals and contracts. A decade later, we signed his label to our sync roster, and have had the opportunity to pitch and land several placements over the years. It doesn’t get better than that.
LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?
Renée> To counter the uncertainty and heaviness happening in the country at the moment, I’ve noticed that comedy in advertising has become more popular, and jingles that were made famous in the ‘90s are back in full force.
In 2024, Cannes Lions introduced a ‘Humour’ category for the first time, and humour as a genre moved beyond the Super Bowl, with our work on State Farm featuring Arnold Schwarzenegger receiving an Emmy nomination that year. The short form of social media consumption through TikTok and Instagram has also supported a more lighthearted musical approach.
Luckily for BUTTER, this is our specialty. Most recently, we brought back one of the most iconic jingles, Mentos’ ‘The Freshmaker’. For the 35th anniversary of the jingle, we collaborated with songwriter/artist Carter Vail, who earned TikTok acclaim with his comedic chops and helped bring this jingle to a gen z audience.
LBB> Who are your musical or audio heroes and why?
Renée> I grew up listening to my parents’ records, like many music lovers.
Their rotation of CDs exposed me to some of the greatest songwriters: Paul McCartney, John Lennon, Carol King, Elton John, James Taylor and Billy Joel, to name a few. This ended up having a huge impact on my listening habits, but also on my passion for emotional storytelling.
I had the pleasure of seeing James Taylor perform at Bethel Woods (the original site of Woodstock) a few years ago, and was deeply moved, recognising the impact his music and lyrics have had on my life.
As I’ve become an adult, I’ve continued to be drawn to songwriters that can convey this same sense of deep emotion, whether that be Billie Eilish, The National, Florence & The Machine, or Damien Rice.
LBB> And when it comes to your particular field, whether sound design or composing, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?
Renée> A mantra that was shared with me by one of my mentors and continues to ring true is, “always find a way to connect with what you are creating”. It’s obvious to us when a creator’s heart isn’t in their composition.
This impulse for emotional separation in advertising makes sense because artists aren’t creating music for their own personal project, and instead composing for a brand. However, it’s still incredibly important.
Whether you are writing for a cause that’s very close to home, or for an everyday consumer product, we all (creators and producers) have to give the same attention to make that piece the best it can be and find our reason to connect with what’s being made. Otherwise, what’s the point? AI music is becoming more and more prevalent. Every human experience and point of view is unique, and we want to hear yours!
LBB> When you’re working on something that isn’t directly sound design or music (let's say going through client briefs or answering emails) - are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?
Renée> I love a feel-good, driving, and energetic soundtrack to get me in the mood for administrative tasks such as licensing paperwork and billing. For me, though, this time is rarely dedicated to music exploration, and instead I’m typically drawn to those ‘oldie but goodie’ tracks that I’ve had on repeat over the years, so I can zone into the details of what I’m working on.
With emails, however, I have to focus so much on how I want to reply that I prefer silence. I’m often moving back and forth between video calls with our clients and team members, along with listening to demos and revisions. The turning on and off of music throughout the typical day can start to feel a little disorienting. So, I do find myself sitting in silence with my headphones on a lot of the time, waiting for when I have to jump in to review some tracks.
LBB> I guess the quality of the listening experience and the context in which audiences listen to music/sound have changed over the years. There’s the switch from analogue to digital, and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low-quality sound (often the audio is competing with a million other distractions) - how does that factor into how you approach your work?
Renée> Funnily enough, I find myself toggling between listening to music on my hi-res audio set-up and on my lower quality Apple earbuds. I find it important to listen to our work on the lowest common denominator of audio quality, because quite often, the end listener will be using a similar setup.
Unfortunately, we can’t all watch content in a 7.1 surround mix room like we have at the studio (although I will say getting to watch the Super Bowl halftime show in there this year was a real treat). This way, we can ensure that our music will translate across all setups.
LBB> On a typical day, what does your ‘listening diet’ look like?
Renée> Believe it or not, I find myself exercising a ‘silence diet’ the majority of the time in my day-to-day life. When working on a deadline, reviewing demos, or working on a supervision search, active and focused listening is mandatory.
Therefore, trying to listen to music around those periods can become very distracting and disjointed. I ideally like to immerse myself in an album front-to-back, instead of the randomness of skipping from one single to another on Spotify.
However, finding an hour of undisturbed listening time during the workday is next to impossible. I do find that the silence also helps my ears be ready to listen carefully when I need to, so they aren’t burnt out.
As an alternative to listening to music during my commute, I’ve started getting into podcasts and reading/listening to books, to provide a ‘palate cleanser’ (if you will) after a stacked day of music listening. I’ve found it’s important to create that space and be present. Sometimes, I find myself enjoying the crazy soundbath that New York City has to offer, which helps reset my ears as well.
LBB> Do you have a collection of music/sounds, and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised Spotify-er…)?
Renée> I’m a big collector and I love tangible objects, whether that be books, music, or tchotchkes (much to my husband’s dismay). I used to have a big CD collection when I was younger, but lately I’ve gotten into building out a vinyl collection and a decent sound system. Vinyl has been my way to make a listening experience feel like its own adventure, and allows me to value the specialness of music.
LBB> Outside of the music and sound world, what sort of art or topics really excite you, and do you ever relate that back to music?
Renée> My recent obsessions outside of music include reading and video games, both of which are extremely applicable to the work we do in advertising. At BUTTER, we’ve had the pleasure of working on jobs for both Nintendo and Supercell (creators of ‘Clash of Clans’ and other mobile games). I also find myself reading about various subgenres of music through memoirs and non-fiction books, which I also apply to our creative direction and brief writing.
I highly recommend ‘Major Labels: A History of Popular Music in Seven Genres’ by Kelefa Sanneh on the non-fiction front, and ‘The Violin Conspiracy’ and ‘Symphony of Secrets’ by Brendan Slobcumb if you like fiction and mystery. I’ve got Rick Rubin’s ‘The Creative Act: A Way of Being’, and ‘A Little Devil in America: Notes in Praise of Black Performance’ by Hanif Abdurraqib next on my list. Follow me on Goodreads (@reneem_reads)!
With video games, I find myself living in the epic scores of my favorite games – ‘The Legend of Zelda: Breath of the Wild’ (BOTW) being at the top of the list. The music is so prolific, and it’s easy to develop such a strong connection and positive associations after listening to it over the course of hours and hours of gameplay. These scores have the strength to stand alone and are instantly recognisable. There’s nothing better than listening to a YouTube playlist of the BOTW score (with added rain ambiance) alongside a cozy book, and bringing together three of my passions!
LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do - I’d love to know what the most exciting or inspiring experiences you’ve had when it comes to sound and music on your travels?
Renée> Connecting with music abroad and getting to the hearts of different genres has always been motivating and invigorating to me. I had the pleasure of going to Japan this year, which has been at the top of my list for my whole life since I grew up obsessed with ‘Sailor Moon’.
I’m such a fan of the food, the precision, the nature, and the culture (I could go on and on) of the country, so musically, I found it so inspiring as well. A few of my highlights on the trip were booking a private karaoke room and singing my heart out, visiting Tower Records Japan (which is seven stories tall!) and buying CDs and vinyl, attending Kyoto’s Manga Museum, and checking out the exhibition at the Mori Modern Art Museum, which specialised in AI creation for video games.
Just walking through the country was a sonic experience in and of itself, whether it was observing the buzzing of the Pachinko machines and clubs in the heart of Shinjuku, or feeling the quiet serenity of the Buddhist temples in Kyoto.
LBB> As we age, our ears change physically and our tastes evolve too, and life changes mean we don’t get to engage in our passions in the same intensity as in our youth - how has your relationship with sound and music changed over the years?
Renée> Trying to keep that youthful and non-judgmental joy for music alive when working in this industry is tricky. Music has always been the thing that comforts me; regardless of my feelings, it always helps me express my emotions.
Once I got more competitive in voice competitions and in my career, it became more pressure-inducing, and I became more judgmental of my abilities. After years of staying ‘behind the scenes’, I realised how much I was missing connecting to music for the sake of pure joy.
In the last few years, my goal has been to find ways to do just that. Most recently, I’ve joined an inclusive and supportive choir with people of all ages and backgrounds, which has been amazing. I’ve also gotten back into taking singing lessons with one of the most amazing artists I’ve met throughout my career, Beccs.
My fear about not being ‘as good’ as I used to be at singing stopped me from wanting to pursue the thing that made me, me. My perfectionism got in the way of expressing myself. The above endeavours have helped me reconnect with myself and made me realise that music is a part of me that will always be there, no matter what.
