Supreme Music Asks Max Messinger: And What About Music?
Music shapes ideas before they become craft. That is the core of 'And What About Music?'
In this episode, Kat Wyeth sits down with Max Messinger to talk about the role music plays in creative work – from first instinct to final execution. Both are not just practitioners, but educators. Together, they are shaping the next generation of advertising talent at KreativKader Germany.
Q> Please tell us your name and what you do professionally.
Max> Hi, I’m Max: creative director, business coach, and co-founder of Creative Coach, a creative consultancy fully dedicated to coaching creative minds and companies. And yes: I love pumping music. If you do too, feel free to turn up the soundtrack to this interview which I’ve put in a playlist: Creative Music.
Q> Is there a piece of music that changed the trajectory of your creative thinking? How did it reshape your approach to your work?
Max> Back in the days, I was stuck in university in Cologne. Then came an internship at the Design Agency Meiré und Meiré – and I was on fire. That’s when I knew: I wanted to be a copywriter. Around that time, two bangers hit the streets for the first time: the Porsche Cayenne – and 'Fix Up, Look Sharp' by Dizzee Rascal. The second one? Loud, raw – a creative punch in the face. That track still shapes how I understand energy, reduction, and presence in creative work.
Q> Is there a song or piece of music you wish you had created or used in your work? What makes it special to you?
Max> I fell in love with the Scala & Kolacny Brothers' version of 'Nothing Else Matters.' I was never into the Metallica original – but this cover, sung by a female choir, blew me away. It took me back to a moment in Paris, when I stumbled into a stunning choir at Sacré-Cœur. I’d love to use it in a modern campaign supporting the fight for democracy and freedom. Something we should all stand up for every day. The song expresses scale, timelessness, and uncompromising love. Maybe my guilty music pleasure is cover songs – like 'Eye of the Tiger' by Jenn Grant or 'abcdefu' by Wisekids & Boiler.
Q> How has your relationship with music evolved throughout your career? Has your approach to selecting or incorporating music changed over time?
Max> Hip-Hop was my first love and still fuels my energy today. My taste has broadened – but one thing stayed the same: music has to move me. It has to hit an emotional nerve. As a copywriter, I listen with one ear on the beat – and the other on the lyrics. In the beginning, I often had a fixed idea of how a spot should sound. Today, I focus on involving everyone at the right time – creatives, director, client, and music production. Creatives need space for their own taste. The director must feel the track brings their vision to life. And music production should be brought in early – close to both agency and client. That’s how strong, uncompromising work is made that grabs attention.
Q> When you're stuck creatively, are there musical and/or listening practices which help you break through?
Max> Diving into music is one of the few ways I truly relax. It helps me switch off and recharge. I also like watching Guerilla Bars by Harry Mack or Making Music with Strangers by Ari Miller (@HarryMack, @ariathome both on YouTube). And I regularly check out new music videos. It’s a great way to discover new songs, edits, and fresh storytelling ideas. Cruising through the Netherlands while listening to local radio stations is also a great source of inspiration. Just keep Shazam ready – you’ll always catch something unexpected to add to your playlist while driving your Chocolade Vla home from the supermarket.
Q> Is there a musical approach or trend in advertising that you believe is overdone or misunderstood? What would you like to see more of instead?
Max> Advertising is getting way better at using music – and the overall level keeps rising. There are more high-quality productions and more respected artists and emerging talents open to collaborations. Many clients also have a more refined feel for music. But one thing remains crucial: understanding that you can’t buy culture. People instantly sense whether an artist, a track, and a brand truly belong together – or if it’s just a forced fit.
Q> How do you navigate the balance between a client's musical preferences and what you believe will best serve the story?
Max> Involve the client early. Ask questions. Show mood references. Never just send tracks by email – present them live, ideally with the director and music production team. That way, you can walk the client through the thinking and let them feel the track’s value. When opinions differ, try two music tracks on the same edit – one more creative, one more client-friendly. Take the client on that journey, and chances are they’ll pick the bolder version.
Q> What topics or movement in the world of music do you not like?
Max> Hip-Hop has massive potential to reach and inspire millions of young people – but too often, it does the opposite. Many artists reject any sense of responsibility. I just don’t get why so few artists use their street credibility to encourage kids to take a different path.
Q> In what ways do you think AI is helping in your role and do you see any pitfalls?
Max> AI is part of my creative workflow – from generating mood tracks via Suno to using LLMs for lyrics generation. There’s been huge progress, and it’s exciting to explore what’s possible. But there's a trap: overestimating your own capabilities just because AI can generate something. We shouldn’t make the mistake of replacing real professionals instead of collaborating with them. At the moment, AI is a powerful tool – but not a replacement for craft, context, or creative intuition.
Q> Is there anything we should’ve asked you, but we didn’t?
Max> Let’s say your plane crashes and you can only bring one song to your desert island – what’s your pick? It would be 'Ghost' by Rudimental feat. Hardy Caprio. It blends several genres I love. I can picture myself lighting a signal fire to that track, scanning the sky for a rescue plane.
