Anh Do, the New Global Music Lead at TBWA\MAL, Believes, 'There Is Rarely Just One Right Song'

Flexibility is great, but soundalikes can misfire

“If you can’t get the song that you originally wanted, do not make a second-rate imitation of it,” says Anh Do, who joined TBWA\Media Arts Lab last month as global head of music. “I’ve been on projects where everyone falls in love with a song. But it does not come through and someone wonders, ‘Can we do our own version?’ That can work if the new version has a distinct point of view. But if it is only trying to recreate what made the first song special, pivot.”

“Creativity requires flexibility, but that flexibility should lead to a better answer. A soundalike misses the very originality that made you want the artist’s music in the first place. There is more music in the world than we could ever fully explore and countless creative paths to pursue. There is rarely just one right song.”

TBWA\MAL famously serves as Apple’s dedicated creative resource, and the tech giant’s promotional efforts across various markets and media lean heavily on sound and music. Do joined after holding senior posts at Google Brand Studio and Expedia.

Muse chatted with Anh about her background, inspirations and plans moving forward.

Where did you grow up, where do you live now, and how do the two compare?

I was born in Vietnam and raised in Orange County, Calif., in what felt to me then like the wastelands of perfect suburbia. As a teenager, I was desperate to escape, sneaking up to Los Angeles for shows and raves and dreaming about a more cosmopolitan life. Looking back, the boredom of growing up there gave me an appetite for elsewhere, for a life that felt bigger and less predictable. I have lived in Los Angeles for many years now, and I love it.

Was there an “a-ha” moment in your life that made you realize what you wanted to do?

There was never one lightning-bolt moment. I arrived at TBWA\Media Arts Lab by a circuitous route, guided not by some master plan but by passion, curiosity and a willingness to experiment. Music and art have always been the through-line, but how I got here was anything but linear. I have been a musician, worked across art and fashion, owned a boutique creative agency and eventually found my way into music supervision. Some of those choices did not look like forward motion at the time, but each chapter prepared me for the next. I sometimes joke that I have been improvising my way through life and have only recently started making grown-up decisions. Looking back, the detours were the path.

What’s your favorite music memory?

In 2009, my old band was invited to play at All Tomorrow’s Parties, curated by My Bloody Valentine in Minehead, U.K. It became my benchmark for the perfect music festival. It was intimate enough to move between stages in minutes, run into a musical idol and feel connected to the other artists and fans. Everyone was friendly, and even the accommodations were civilized and cozy.

I got to see bands that shaped my early musical taste: Television Personalities, The Pastels, Spectrum and Buzzcocks. These were artists I had never had the chance to see in the States. But the peak was watching MBV perform all three nights. Each time, “You Made Me Realize” dissolved into the band’s notorious 15-minute-plus wall of white noise. It was so overwhelming and physical that I had what felt like an out-of-body experience. The whole weekend was such a pure celebration of music that it completely spoiled me.

Who are your favorite musicians today?

I have Olivia Rodrigo’s new album on repeat, and Daisy Chain Fields made me admire her even more. I’m also drawn to Cameron Winter, both solo and with Geese. I’m a sucker for a beautifully whiny male vocalist, from Lou Reed and Bob Dylan to David Berman of Silver Jews and Dan Bejar of Destroyer. The ultimate, though, is Lawrence of Felt. I fell hard for Lana Del Rey when Norman Fucking Rockwell! came out. Always Lana.

My 12-year-old son has also become my unofficial A&R department. He controls the car stereo and exposes me to a new wave of experimental rap and electronic music. I began as a captive audience, but more of it is sticking.

If you could be any musician, who would it be?

I think it might be fun to be Brian Eno. He is a self-described non-musician who somehow turned ideas themselves into an art form. He gets to experiment, collaborate with fascinating people and guide the creative process without needing to be the virtuoso at its center. In many ways, he is the ultimate creative director, only with synthesizers.

Can you talk about one or two of your favorite recent projects?

Before joining TBWA\Media Arts Lab, I worked on Google’s “The Art of K-Pop Dance” doodle for AANHPI Heritage Month, featuring LE SSERAFIM’s song “Celebration.” I received an advance of the song and immediately felt that its message, spirit and timing made it the perfect soundtrack for the Doodle. Occasionally, a project comes together at exactly the right cultural moment. The music, the creative idea and the energy of the group’s fandom all aligned, and it was incredibly rewarding to see audiences connect with it so enthusiastically. You can watch it on Instagram or YouTube.

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Another project close to my heart came through my role on the board of Monday Evening Concerts, a music series in Los Angeles devoted to contemporary classical and avant-garde music. Last fall, I was proud to be part of “Written on Heaven,” a portrait of the Ethiopian composer, pianist and nun Emahoy Tsege-Mariam Gebru. I had been deeply moved by her music for more than a decade, so hearing it brought to life in a church was a dream come true. Across two evenings, the interpretation of Emahoy’s music and the intimate setting came together to create something spiritual and truly transporting.

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How do you approach finding the right music for campaigns?

My approach begins with research: understanding the story, emotion and cultural context. I draw on musical history to connect dots across eras, genres and communities, leading to choices that feel surprising yet inevitable. Then comes collaboration. Finding a great song is not enough. You must articulate why it works and invite others into the idea. I bring a clear point of view while remaining open to a better possibility. The goal is a pairing that makes everyone say, “Of course.”

Was there a mentor who helped you navigate the industry?

I want to give Hector Muelas his flowers. He is one of the most brilliant and perceptive people I know. Five years ago, I was at a crossroads, considering what I wanted to do next. Hector opened a door at exactly the right moment, and that opportunity changed the trajectory of my career. He has a rare ability to recognize what makes people distinctive and create the conditions for them to thrive. He trusted my experience and instincts and gave me the freedom to make it my own. I will always be grateful for his belief in me, his generosity and his friendship.

You’ve got 2 minutes with the industry… What’s your hot take?

This isn’t exactly a scorching hot take, but don’t take things too seriously. This is mostly advice for myself because I’m obsessive and take everything way too seriously. I will probably forget I said this in about two minutes.