How Carol Dunn is Leading the Tune at Barking Owl

Carol Dunn knows a thing or two about hard graft. Recently appointed as managing director at award-winning music, audio-post and sonic branding company, Barking Owl, Carol’s journey in the music industry began humbly. Starting out as a switchboard operator at Capitol Records (a role she initially saw as temporary) would shape her path for the next four years. Little did she know, this seemingly routine job would spark her passion for music placement and supervision, setting the stage for a remarkable career. 

Energised by the dynamic, fast-paced environment of Capitol Records, Carol swiftly realised her potential and sought avenues for advancement within the company. Initially confined to the windowless office of a switchboard operator, she perceived opportunities beyond her current role as distant dreams. However, everything changed when she discovered an opening for an A&R assistant—a pivotal moment that altered the course of her career. 

Known for her infectious charisma and unwavering perseverance, Carol has navigated an industry that complements her personality, carving a trajectory defined by self-belief and a personable approach to every opportunity.

I dial in with Carol a few days after her new role is announced on LBB. She takes the call from her bright and airy new office at Barking Owl, where she is enjoying a breakfast of chilaquiles and watermelon salad. Envious, I tell her my morning so far has been caffeine-fuelled and I am yet to eat anything of substance. “I know those kinds of mornings,” she says in response. “I’ve had many of them. I’m only eating because we have a chef here who cooks for us!” 

We get into it, starting at the very beginning, with Carol sharing details of her rise through the ranks at Capitol Records. She describes her segue from switchboard operator to creative assistant as a "big jump" but believes it was her interpersonal skills that made her well-suited for the role. 

Unafraid of asking questions, Carol’s four years on the switchboard had bestowed a solid foundation of knowledge upon which to build. Her colleagues knew her as curious and likeable, and this reputation afforded her a great deal of autonomy when she finally graduated to the newly founded Soundtracks department. 

“Soundtracks was a whole new vertical for Capitol, it was brand new to everybody. So if I didn’t know something, I would ask the question, instead of bulldozing my way through – and others appreciated this about me,” she explains. 

Assisting Karyn Rachtman, the inaugural head of soundtracks, Carol worked on the music coordination of iconic 90’s movies like Boogie Nights, Bulworth, Office Space and Baz Luhrman’s Romeo + Juliet. 

When I ask how she transitioned from providing clerical assistance to a more challenging creative role, Carol answers plainly: “I just wanted to do it. And I knew that I could do it - my personality naturally lent itself to the role. I am good at organising timelines, managing personalities and expectations, making sure everything and everyone is okay.”

Good at reading a room and knowing when to speak up, her ability to deliver noticeable change and present valuable solutions is what would eventually grab the attention of the higher-ups. “In this line of work, it’s about thinking outside of the box,” she explains. “Say you’re given a brief, and everyone is laser-focused on a specific idea, if someone is brave enough and bold enough to present a different point of view, it stands out. Sky high ideas are greatly appreciated and remembered.”

Carol recalls a prime example of one such idea that came during her time assisting Karyn on the Romeo + Juliet soundtrack. Capitol Records received ‘#1 Crush’ by alternative rock band Garbage, and Carol immediately felt it had the potential to be a major hit.

“I remember thinking, ‘this has to be on the soundtrack, this is the song.’ So I went out on a whim and shared it with the team – and the song blew everyone away. It was decided, then and there, that we would push for it to be featured on the soundtrack.”

This bold and fearless move paid off. After that, it felt like she was exactly where she was supposed to be. In the coming years Carol would become A&R coordinator at Capitol, before becoming head of film and TV soundtracks and going on to work as an EP at some of the biggest film and TV music placement companies in the business. Her transition from record labels to music publishing to advertising was a smooth one, due to her unwavering passion for placing music to picture. 

“I still get that feeling all the time,” she says. “A job will come in and I will get an instinctive feeling, just from reading the brief or seeing the spot. In this line of work, it may seem like everybody has made up their minds and simply can’t see or hear anything outside of that idea, but we must be a facilitator of the music.”

“It’s all about suggesting ideas that seem like they would never happen because when we say them out loud, it makes them seem more possible. We can manifest things just by saying them. After all, if an idea clicks, then we can see where it goes from there…” 

From where I’m sitting, Carol seems happy and at home in her new role at Barking Owl, like she’s been with the company for years. As she discusses her onboarding, I learn her comfortability is largely due to her trusted relationship with founder, Kelly Bayett. 

“Kelly and I have been in each other's orbits for a long time,” says Carol. We clicked right away, and whenever we got together we’d discover we shared similar perspectives.” In 2022, the pair ended up speaking on a panel in Berlin together. Exploring the city, getting lost and, in turn, really getting to know each other. “We realised we were opposite sides of the same coin.” 

While they both acknowledged how awesome the idea of working together in some capacity was, it never felt like a serious discussion – until now. “Our desire to collaborate in some way always felt very casual, like ‘Oh, this won’t happen.’ But Kelly found a way to make it happen,” reveals Carol, a smile spreading across her face. “She asked me to dinner and said, ‘Okay, I can do this now. Would you be interested?’”

“Most jobs you go in cold, without knowing the person. But I really know Kelly, so the decision felt like a no-brainer,” Carol explains. “She is passionate about inclusivity and diversity, that’s just who she is. And, as a woman-founded company, the culture of inclusion is already here, and it’s strong.”

I ask her to describe how that feels, to which she replies, “It’s strange to try and define it, because it just feels the way it's supposed to feel, if that makes sense? I feel safe and seen and respected, and that I was hired because of what I do and who I am - not because of what I look like.”

Thrilled to be welcomed into a company she has long looked up to, Carol acknowledges she has “very big shoes to fill” in taking over the role of managing director. But, while Kelly is transitioning away from being a hands-on ECD to more of a loving 'helicopter mom', Carol knows she is only a phone call away. 

Excited to make use of her diverse experience across different verticals, Carol will be leveraging her vast network of connections in the film and TV world to elevate Barking Owl’s already exemplary creative capabilities.

“The creative is already here. The excellence is already here. We aren’t missing anything creatively, it is just about expanding the reach further into film, TV, video games – more sonic branding,” she says enthusiastically. “Although I hate the word leverage, it is a matter of leveraging my relationships within film and TV. Because, I do, humbly, and honestly, have very genuine relationships with people in this industry. And it finally feels like after all my years of work – this is it.”