Thinking in Sound: Daniel Olaifa’s “Comforting Kind of White Noise”
I’m Daniel Olaifa, music supervisor at BBH London. I loveeee music, but I’m also a multi-instrumentalist and producer so some of my answers revolve around that too.
LBB> What’s the most satisfying part of your job and why?
Daniel> Discovering new music and placing it for music supervision are two of the most exciting parts of my job. Lately, I've been really enjoying music from Kinder, and I’m constantly on the lookout for fresh sounds—this is integral to what I do. It keeps things fresh and fun. We also have a blog, which means there’s always a steady flow of new tracks from emerging talent.
When it comes to placements, there's a great sense of accomplishment—whether it’s the joy of finding the best musical fit or the relief of knowing everyone’s been paid. It was especially rewarding to work with Neon The Wonderer and Hali Ray this year, getting a remix of their track licensed for our F&F Spring campaign.
LBB> Do you have a collection of music/sounds? What shape does it take?
Daniel> I have an unorganised personal Spotify account, haha, but a super concise work one. Then I have a ridiculous number of samples on my laptop — pre the world of Splice! The days of not having money and sourcing samples for free online definitely worked wonders for me. Other than that, I’ve started to DJ again so I've been collecting slowly.
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 generate ideas?
Daniel> I wish I had a consistent answer for this question, but usually, after the first couple of meetings, or if there isn’t one, I just think about the brief. What would I be listening to, or how does it make me feel? That’s where I start.
I generate responses by asking questions to the creatives or jotting down words and feelings that come to mind.
LBB> As we age, our ears change physically, and our tastes evolve. How has your relationship with sound and music changed over the years?
Daniel> I’m 27 now, so let’s jump through a few decades.
7-year-old me would probably be listening to whatever my parents were playing in the car or on the radio. So Fela Kuti, or music from our tribe. One song that stuck with me had lyrics that went, "Nigeria on the march again, we are praying for good government”.
17-year-old me would have been rocking out to indie music, loving bands like Haim and Bombay Bicycle Club.
27-year-old me now? I’m loving Kokoroko, Shabaka, artists like Cleo Sol, Twenty One Pilots, and more recently, I've been really enjoying Honne.
LBB> On a typical day, what does your ‘listening diet’ look like?
Daniel> My listening diet is so inconsistent and is often influenced by what I’m doing. If we’re breaking down the day. I’ll start with a little bit of soft piano, or maybe even CCM, loving Amanda Cook’s recent project. Generally, I commute listening to podcasts, then in the day wherever work takes me. After that, I’ve normally reached the capacity for music, but if I end up driving somewhere after work, I’ll put on one of the artists I mentioned above.
LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do. What are the most exciting or inspiring experiences you’ve had with sound and music on your travels?
Daniel> Travel, travel, travel! I've been fortunate enough to travel with Biig Piig, but recently, it's been really nice to explore without the pressure of performing. One of my favourite memories was in Morocco, during an excursion to the Sahara Desert, where we ended up dancing under the stars.
They played qraqebs, hand cymbals that were incredibly challenging to master. The rhythms they wove into the music were mind-blowing, and I was humbled by how difficult it was to keep up. They also played the bendir, like a drum, and the sintir, a hybrid instrument that serves both melodic and rhythmic roles. That experience will stay with me forever.
In Marrakesh and Taghazout, I experienced music in many different settings—from watching bands play in the town square to dancing by the beach to traditional tunes. It was unforgettable.
LBB> When you’re working on something that isn’t directly related to sound design or music, do you need music or noise in the background, or is that distracting for you?
Daniel> It depends, if I’ve been working on a lot of music or briefs, but I actually enjoy silence more than people might think. Even just the sound of nature or traffic on a street can be beautiful — cracking open a window is enough, it’s a comforting kind of white noise.
LBB> Outside of the music and sound world, what sorts of art or topics really excite you, and do you ever relate that back to music?
Daniel> I wouldn’t say art, but snowboarding and skateboarding are definitely passions of mine!
