Sonar’s Cameron Bruce Thinks, “That Would be Weird. I Might Try That”

From mucking about on an old pianola as a kid to directing music for Baz Luhrmann’s ‘Elvis’, Cameron Bruce has always trusted his instincts. This resourcefulness is now being channelled into his new role at Sonar Music, where he will compose original music, direct talent on set, and lead the music process in post-production.

“The beauty of Sonar is in their versatility — they cover so much ground,” he tells LBB.

“I’ll slot in wherever needed — a flexible cog in a well-oiled machine.”

The ARIA award-winning composer and musical director says the role is as much about making talent feel comfortable as it is about crafting the right melody.

“Just do it, don’t train,” he advises aspiring musicians — a philosophy that has shaped his journey across film, television, and live performances.

Sophie Haydon, executive producer at Sonar Music, describes Cameron as “one of the most charming and engaging people to work with.”

“His energy is absolutely infectious,” she says.

“He consistently brings out the best performances in talent and never ceases to amaze me with his clever and catchy arrangements.”

Growing up, he played music with friends, covering bands like Led Zeppelin and The Doors, but never considered it a viable career path.

“It wasn’t really spoken about in those terms,” he says. “It was just something you could do for fun.”

Despite his lifelong passion for music, Cameron admits he was “pretty rubbish” at other creative pursuits, like drawing. His career began in earnest through playing in bands, which eventually led him to the worlds of film and television.

“I’ve always loved watching film and TV, and I found myself drawn to that world,” he says.

“In a way, it’s all just different versions of music — and being good with all different kinds of creative people.”

Now, Cameron’s portfolio includes collaborations with some of Australia’s most celebrated artists, such as Paul Kelly, Missy Higgins, Bernard Fanning, and Megan Washington.

As a long-standing band member and songwriter for Paul Kelly, he helped shape many of the iconic records that have become part of Australia’s musical fabric.

His work as a musical director has also seen him take on high-profile projects, including ‘Elvis’ and the 50 Years of Mushroom concert, where he worked with artists like Ed Sheeran and Amy Shark.

“I don’t think I have to worry too much about technical expertise,” he says. “I do often find myself thinking, ‘That would be weird. I might try that.’ To varying degrees of success.”

For aspiring musicians and composers, Cameron’s advice is refreshingly straightforward.

“Just do it, don’t train,” he says.

“I don’t think [music schools] are completely without merit, but I think the notion of just getting out there and doing stuff is invaluable. Plus, Kasey Chambers’ advice — ‘Don’t be a dickhead.’

“At the end of the day, it’s all about the music and the people you work with. If everyone does their job well, we’ll probably have a win.”