Lisa Juul

Tracks peak in week one, then fall off. And to the industry, Epidemic Sound was still a music library.

A song gets one launch week, a remix gets another. And creators trust artists they already follow more than a catalog they’ve never heard of.

Marquee artists remix catalog tracks, released for creators to sync, with in-app attribution.

• Wrote the brief and global go-to-market plan, and owned budget and KPIs from concept to post-campaign report
• Scaled the in-app marketing channel first opened with The Bridge: in-app placements and artist attribution on every remix
• Ran a monthly release cadence, optimizing each drop on the previous one’s performance data
• Reported performance to C-level weekly

100M+ views on creator videos
+2,600% player downloads vs. benchmark
Covered by Billboard
Used by the sales team in pitches

To the industry, Epidemic Sound was a production music library, not a music company.

The industry won’t believe a brand that says it’s a music company. It will believe Johnny Marr treating its artists as real artists.

Industry legends mentor artists from Epidemic Sound’s own roster. The story is told through press, TikTok, and owned, artist and partner channels.

• Owned the commercial setup: negotiated and signed off budget and contracts with external production partners
• Co-developed the narrative (industry legends mentoring Epidemic Sound’s own artists) and owned the integrated rollout across earned, owned, social, artist and partner channels
• Opened up the Epidemic Sound app as a marketing channel, a first in the company’s history
• Drove earned media with PR: five press hits, including Music Business Worldwide and Music Week, plus a Highsnobiety media partnership

17M+ impressions across platforms (incl. some boosted posts)
7M+ organic views on one TikTok
5 press hits: MBW, Music Week, Guitar Player, Music Ally, Yahoo
Used by the sales team in pitches

Epidemic Sound needed to be seen as a credible music company and show its investment in classical, the catalog’s most popular genre: a 54-piece orchestra recorded live in New York.

The people who buy music for TV walk past Times Square every day. Spend the money on where the billboard stands, not on making it.

An integrated campaign with a Times Square billboard near the networks' offices at its center, spotlighting the classical music collection.

• Produced all visuals in-house at near-zero cost, moving almost the entire budget into media
• Led media planning with the paid media lead and agency: a site next to the TV networks’ offices, in front of the exact buyers we needed to reach

Used by the sales team in pitches
Near-zero production cost

The Gift of Christmas. A fully integrated holiday campaign tied to Jordin Sparks’ EP release, running on her channels and Epidemic Sound’s. I owned the campaign and the production.

The Yard Woman, live DJ set. Two years running, I owned the artist programming for Epidemic Sound’s activation, from choosing the artists to getting them on stage.

A creator partnership. YouTuber Aphmau commissioned an original composition from our band Loving Caliber. I managed the relationship and worked both sides of the negotiation, with Aphmau and the band. It culminated in Loving Caliber playing two concerts at VidCon 2024, where Aphmau was the biggest YouTuber at the event.