Supreme Music Asks Tommy Gmür: And What About Music?
Q> Please tell us your name and what you do professionally.
Tommy> My name is Tommy Gmür. I’m the managing creative director of DRAVT, a Berlin based creative advertising agency operating at the intersection of pop culture and sports.
Q> Is there a piece of music that changed the trajectory of your creative thinking? How did it reshape your approach to your work?
Tommy> If I had to pick one, it would be ‘My Friend the Forest’ by Nils Frahm. That track redefines time — it slows everything down until rushing becomes impossible. You can literally hear his fingers hit the keys, and somehow it makes you feel both happy and sad at once. That contradiction had a profound impact on me. It showed me that music can carry emotions we don’t even have words for, yet we all share. And that’s exactly what we’re chasing in our work: stories that connect us in ways language alone never could.
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?
Tommy> As a father of two, I’d have to say ‘Father and Son’ by Cat Stevens (Yusuf). It’s universal — every parent can relate to it. What makes it timeless is its simplicity. It doesn’t just tell a story, it bridges generations. For me, it sparks endless images and narratives. It would be a dream campaign song because it already holds so much truth. And because it’s one of the most recognised songs in the world, I love the challenge of reimagining it in a new context and making it resonate all over again.
Q> How has your relationship with music evolved throughout your career? Has your approach to selecting or incorporating music changed over time?
Tommy> Like any meaningful relationship, mine with music keeps evolving. At first, it was about adding emotion to images. Now it’s the backbone of my creative process. I need music to tell stories, to add nuance, to give a fresh perspective. Sometimes the best move is even contradiction — pairing sound and image in ways that don’t match, so the audience suddenly sees something new. That’s why picking the right track is one of the hardest — and most rewarding — parts of my work. The song must either serve the story seamlessly or be so powerful that the story has to bend to it.
Q> When you’re stuck creatively, are there musical and/or listening practices which help you break through?
Tommy> I don’t really believe in being “stuck.” It’s just part of the process. But music helps me shift through those phases. For focus, it’s classical or minimal electronic. For story-building, I use music to set a mood: sadness, joy, longing, regret. It’s almost frightening how fast music can flip your state of mind. One track and suddenly you’re not staring at a blank page anymore — you’re inside the story.
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?
Tommy> Using a hit song to guarantee resonance feels like a cheap trick — and honestly, it rarely works. It’s the equivalent of casting Brad Pitt just to sell tickets. A commercial move, sure, but not a creative one. Audiences don’t connect with fame, they connect with authenticity. Great ad music should surprise, elevate, and leave a mark, not just lean on borrowed glory.
Q> How do you navigate the balance between a client’s musical preferences and what you believe will best serve the story?
Tommy> I don’t start with a client’s personal playlist. For me, a song has a job to do: set the tone, ignite a feeling, amplify the story. If the client agrees and the budget works, perfect. If not, we start again. My obligation is to the campaign, not someone’s favourite track. Once I’ve chosen a song, I explain the reasoning — because in the end, the decision isn’t mine alone. That’s why good arguments matter. Budgets and politics play a role too — sometimes even the CEO’s daughter’s current obsession sneaks onto the table.
Q> Is there a question about music and creativity you’ve always wanted to answer but have never been asked?
Tommy> In this field, we spend a lot of time telling others how things should be done. We sell our expertise. But if you ask me whether I really know how advertising — or creativity at all, including music and its impact on our minds and hearts — actually works, my honest answer is: I have no idea. I’m just doing my best. And maybe that’s the point. Creativity isn’t about knowing. It’s about staying curious enough to keep searching.
Q> What topics or movements in the world of music do you not like?
Tommy> Music is one of the simplest yet most complex ways of self-expression. Whether political, emotional, or just for fun, it’s art — and probably the most universal form of art we have. So I respect every movement. What I’d love to see, though, is more originality. Less recycling of the same samples we’ve been hearing for decades. Music should move forward, not just remix its past.
Q> In what ways do you think AI is helping in your role and do you see any pitfalls?
Tommy> Those who were bad creatives before AI will still be bad creatives with AI. Tools don’t create talent, they amplify it. For good creatives, AI can be a game-changer — it accelerates exploration, sparks directions you might not have seen. The pitfall is mistaking speed for originality, or worse, letting the machine decide. That leads to sameness. For me, the real craft lies in knowing when to ignore what AI suggests. Creativity still comes from people — AI just changes how we get there.
