MassiveMusic Warsaw’s Zofia Dutkowska: “Music and Linguistics Are Deeply Connected”
Zofia Dutkowska’s career history might surprise you. Part of the MassiveMusic Warsaw team since its inception in 2021, she joined the music and sound company from her previous position at… Poland’s Embassy of Argentina. The senior music creative is actually a philologist and Spanish translator by trade.
But this is part of what gives Zofia her creative edge. Having grown up in two apparently disparate worlds – music and linguistics – her brain has been trained to see connections where others may not. She’s applied that unique way of thinking to clients like Google, McDonald's, Toyota, and Zalando, and clearly with great success: she was recently a finalist for the Music+Sound Awards’ Music Supervisor Rising Star.
This month, LBB’s Zara Naseer caught up with Zofia to delve deeper into her creative process.
Above: McDonalds 'Drwal Sweterek' (sync and licensing of a production music track by MassiveMusic Warsaw)
LBB> You've got a varied background in Spanish translation and banking – how did you end up as a senior music creative at MassiveMusic Warsaw?
Zofia> At first glance, my career path might seem unconventional to some. However, for me, it has always felt like a natural evolution. Music has always been within my orbit – sometimes closer, like when I attended music school or organised concerts to promote cultural exchange between Poland and Argentina. Other times, it took a back seat while I dedicated myself to language studies and honing my skills as an interpreter.
In reality, these two worlds – music and linguistics – are deeply connected. There’s a strong neurological link between musical and linguistic abilities. For example, Broca’s area, the part of the brain responsible for processing grammar and syntax, also plays a key role in understanding musical structure. Both language and music rely on pattern recognition, auditory perception, and memory.
Interestingly, my background in interpretation has been a great asset in music supervision. The ability to multitask and process multiple layers of information in real-time – these skills translate into my work in music.
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 response?
Zofia> I don’t really have a typical starting point – I try to approach every project like it’s my first, coming in with fresh eyes and no fixed formula. If I could, I’d go full method acting like Jeremy Strong in the Super Bowl Dunkin’ Donuts ad – immersing myself in the microcosm of each campaign. Either you’re all in or you’re out.
That’s probably why I have such a strong affinity for sonic branding projects. It’s all about diving deep into a brand’s ecosystem – getting to know the people behind it, understanding how it communicates, and shaping a sound that truly fits. When there’s enough time to really connect with the brand, the ideas for creative concepts just start flowing naturally. At some point, the project just blends into my daily life. I’ll be out walking or driving around the city, and suddenly, an idea pops up. It’s a lot to take in, but it’s also what makes it so exciting.
LBB> How do you decide when to spotlight home-grown Polish artists, and when to opt for internationally beloved tracks?
Zofia> When working on publishing tracks, I always try to take into consideration both internationally recognised names and Polish artists. And honestly, with many incredible Polish musicians creating high-quality music in English, there’s no reason not to. Bands like Oxford Drama, Youth Novels, Rebeka, Baasch, Coals or BOKKA, to name a few, are proof that ‘home-grown’ can sound just as global. For bespoke music, where an artist is from is the last thing on my mind. What matters is their ability to bring the right emotion, texture, and personality to the project.
Above: 'Around the Touch', a short film with bespoke production and sound design by MassiveMusic Warsaw
LBB> Which of your projects at MassiveMusic Warsaw are you most proud of and why?
Zofia> One of the projects closest to my heart is ‘Around The Touch’, a short film created to accompany a light sculpture by Polish visual artist Kaja Dobrzańska. It explores the beautifully chaotic process that happens at a molecular level when our bodies connect through touch – something so fundamental, yet often overlooked. In the installation, this was expressed through bursts of light; in the music, we wanted to mirror that energy with a Tristan chord – notes gently surfacing throughout the piece, finally resolving at the film’s climax, just as touch meets touch.
Beyond the composition, we crafted a sound design that worked almost subconsciously, layering ASMR-like textures and atmospheric recordings from the set. The goal was to make the experience feel almost tangible, like you could hear the physicality of connection.
None of this would have come together the way it did without Wacław Zimpel and Sambor Kostrzewa – incredibly open-minded composers that made every element click into place.
LBB> You were recently a finalist for the Music+Sound Awards’ Music Supervisor Rising Star – how do you nurture your upwards trajectory? How do you keep inspired and up-to-date with the latest musical trends and breakout artists?
Zofia> I stay curious and open-minded, always exploring music beyond my personal taste. Over time, I’ve learned to appreciate styles I never thought I’d enjoy. I stay connected with people across the industry, while keeping an eye on festivals and cultural events of all kinds. These days, creativity spills across different art forms, so you never know where you’ll discover something inspiring – it could be in an art gallery, on a sound walk, or even at a techno yoga class (yes, that’s a thing!). And, of course, films and series are always a huge source of discovery.
Lately, I’ve also been diving into music AI tech. I believe that just like a medical doctor or an IT specialist, staying ahead of technology is essential if you want to keep up and stay good at what you do.
LBB> What’s the biggest challenge you’re facing in your work right now?
Zofia> It’s definitely juggling multiple projects while balancing a bunch of different roles. Being a music supervisor sometimes feels like being a multifunctional kitchen robot – you have to chop cabbage, boil potatoes, and roast cauliflower all at once. It’s a mix of creativity, project management, and client service, all rolled into one. You need to absorb huge amounts of information, process it quickly, and make confident decisions on the spot. In that sense, it’s not so different from being a simultaneous interpreter. I like to sum it up with the movie title: ‘Everything, Everywhere, All at Once.’
Above: Modivo commercial (sync and licensing of production music by MassiveMusic Warsaw)
LBB> Who are your musical heroes both in Poland and internationally?
Zofia> It’s hard to name just a few – different stages of my life have been shaped by various musical heroes. But for years now, I’ve been mesmerised by the brilliantly unhinged world of LADO ABC. It’s a wildly eclectic Polish collective that brings together everything you could dream of: mind-blowing jazz improvisers, a classically trained harpsichordist constantly shattering classical norms, indie rockers – all creators who defy any typical genres or art forms.
Their music is raw, messy, and refreshingly human. What I love most is the sheer joy that radiates from their concerts and recordings. There’s humour, experimentation, and space for imperfection. It’s not made to please streaming algorithms, but to revel in reckless creativity, inside jokes, and the kind of open-minded spirit that makes collaboration an art form itself. I know it’s a niche, even in Poland, but I’d love more people to discover it.
Internationally, one artist I deeply admire is Keeley Forsyth. In a world that constantly bombards us with noise and distractions, her music feels like an antidote – raw, minimalist, and deeply visceral. Her latest album, ‘The Hollow’, is a masterclass in restraint, where every note and breath carries weight. It’s the kind of music that demands your full attention, drawing you into its stark, haunting beauty and refusing to let go.
