Charles Humenry Becomes Creative Director as SOUTH Music Sharpens Its Creative Edge for 2026

Last year I wrote about SOUTH Music’s artist residency programme. Inspired by the studio's relationship-driven nature, the initiative encourages “musicians, composers, songwriters, and engineers to rub shoulders, share ideas, and make music together under one roof”. Since its inception in 2021, the programme has proven fruitful for both the artists and the work coming out of the SOUTH House. In addition to this, the coming and going of various residents has also presented opportunities for growth and, most recently, this has resulted in a strategic new appointment within the team.

After ending 2025 on a high, due to the immense success of their contributions to projects for YETI and Mando, partner Dan Pritkin is excited to announce that the talented composer behind the YETI work will be officially joining the team as their new West Coast creative director. Having naturally integrated into SOUTH’s studio and team culture, Charles plans to continue bringing his narrative instincts, discipline, and taste from film to the table for more commercial projects.

Speaking with Dan and Charles, LBB’s April Summers learns how this new appointment is the ultimate success story for SOUTH’s artist-in-residence model, and the importance of creating an environment where artists feel supported to take risks.

LBB> Rather than looking outward for a creative director, SOUTH elevated someone already embedded in the culture. What does that say about how you’re building the company and what kind of creative leadership you value?

Dan> Charles moved into the SOUTH house at the end of 2024, and soon after our first official collaboration with him, we were on the phone talking about our future together.

His talent speaks for itself, but if you have the pleasure of getting to know him, you'll learn he also possesses the personality and enthusiasm that fits the culture we're creating at SOUTH. A natural leader and all around good guy whose taste and experience make him so well suited for this type of role.

Certainly, the artist-in-residence program won't always lead us to someone who is the perfect fit for the role of creative director, but in Charles’ case it was a no-brainer. It turns out this programme is as good for SOUTH as it is for our clients.

LBB> And Charles, from your perspective, tell us about your evolution from artist-in-residence to creative director! At what point did it feel like a natural next step rather than a new role?

Charles> SOUTH’s artist residency gave me something incredibly rare as a freelance composer: real stability without creative compromise. Having access to a professional music space, and being surrounded by a genuinely kind and supportive community, allowed me to focus on the work and my career.

After about a year in residency, the transition to creative director didn’t feel like a leap into something new, but more like a natural continuation of the work. By then, I was already deeply embedded in the culture and work ethic. I’m looking forward to being an official part of the SOUTH community.

LBB> Your award-winning work straddles feature films, festival circuits, and high-profile commercial work like the recent YETI campaign. How do those two worlds feed each other creatively? And why is that cross-pollination so valuable for brands?

Charles> I’m a firm believer in working across both mediums as a composer. Writing a film score pushes you to explore, stay curious, and develop a long-form creative voice, and that depth inevitably feeds back into the way you approach commercial work. On the advertising side, the pace is fast and the competition is real: you pitch a lot, you hear “no” often, and you learn (quickly!) how to deal with rejection without losing confidence. That process sharpens your instincts and resilience, which makes you stronger creatively overall.

For brands, that cross-pollination really matters. It means the music isn’t just solving a brief: it’s supporting storytelling, emotion, and point of view. You’re bringing narrative instincts, discipline, and taste from film into a commercial format, while still understanding the realities of speed, collaboration, and decision-making. The result is work that feels crafted and intentional, but still bold and immediate, music that helps brands stand out rather than blend in.

LBB> The response to the YETI holiday spot was immediate, with many in the industry asking, “Who did that score?!” What did this reaction tell you about where brand storytelling is heading musically?

Charles> I was lucky to create the music alongside a dear collaborator, Francesca Blanchard. With her extensive background in songwriting, we wanted to try something a little different — and it really paid off. We were genuinely humbled by how quickly the work resonated, and by the conversations it sparked within the advertising community.

To us, that reaction says a lot about where brand storytelling is headed musically. Brands are increasingly looking for something distinctive on every creative front. They hire directors and DPs who come from the narrative film world, with a strong point of view and a real sense of storytelling. Music should be approached the same way, not as an afterthought, but as an integral narrative voice that’s allowed to be specific, emotional, and bold.

LBB> Dan, the success of projects like YETI really validates SOUTH’s artist-in-residence model in a very public way. How has that success shaped your thinking about talent development and the studio’s long-term vision?

Dan> It encourages us to keep doing what we're doing. Our clients look to us to be the conduit to the best emerging artists and composers available, and our relationships with agencies like Wieden+Kennedy depend on SOUTH doing our part to unleash this talent on exciting projects like our recent work for YETI.

In an effort to be "all things to all clients," music companies sometimes accidentally make themselves appear interchangeable. Our artist-in-residence model is just one way we get to show the world what makes SOUTH, SOUTH.

LBB> More congratulations are in order for your recent win at The Taipei Golden Horse Awards where Lucky Lu won for Best Original Score! How has working at that scale, and being recognised globally, sharpened your creative instincts as you step into a leadership role at SOUTH?

Charles> Thank you! It’s been an incredible honour to be welcomed into the Taiwanese film community in that way. As a creative, it’s easy to doubt yourself since no two careers look the same and there’s rarely a clear reference point. When you’re doing the work, you’re never thinking about awards or recognition: you’re just trying to be honest and serve the story. That said, moments like this do validate your instincts, and give you confidence to trust your voice even more. Stepping into a leadership role at SOUTH, that experience reminds me how important it is to create an environment where composers feel supported to take risks and develop a distinct creative voice.

LBB> As you continue to compose for film, how important is it for you that SOUTH remains deeply connected to the film world as its commercial profile grows?

Charles> Those worlds are deeply connected. Staying engaged with film keeps our storytelling instincts sharp, and that perspective directly elevates the commercial work.

As SOUTH continues to grow, maintaining a real connection to the film world ensures the studio stays creatively curious, culturally aware, and emotionally grounded rather than purely transactional.

LBB> Dan, as brands increasingly look for cinematic depth and emotional resonance in their work, how is SOUTH positioning itself to meet that demand in 2026 and beyond?

Dan> As we enter the new frontier with exciting (and terrifying) new technologies where everyone is trying to "build a platform" or a "proprietary algorithm," a new opportunity emerges for creative companies like SOUTH to double-down on what makes what we do special: talented people who create original work.

We have a feeling that gifted artists who can connect emotionally with their audiences are about to become a hot commodity. Which is exactly why SOUTH is investing in people like Charles who bring their own unique experiences and perspectives to their work, be that in the film, television, music or advertising words. This was a founding philosophy when we opened SOUTH over 16 years ago, and as we continue to grow and evolve, this is one thing we have no intention of changing.

LBB> Looking ahead to 2026, what do you see as the studio’s true creative USP? And why do you think it’s resonating so strongly with agencies and brands right now?

Charles> SOUTH’s real strength has always been its people. For a long time now, the studio has built relationships with an incredible group of freelance composers, and that’s what truly sets it apart. Dan, Ann, and Alina have a deep instinct for matching the right composers to the right project. Agencies and brands trust that when they come to SOUTH, they’ll always get strong, thoughtful musical options. My goal is to protect and elevate that standard as we move forward.

LBB> Finally, as creative director, how do you want SOUTH to sound in 2026? Are there any qualities, emotional tones, or creative instincts you’re hoping to lean into more intentionally?

Charles> At the core, we love telling stories. I want SOUTH to keep being honest and true on every single project we collaborate on with our agency partners and clients. Collaboration is what consistently makes the work better, that’s really my only mantra. Some projects will call for something quirky and left-field, like the YETI spot, while others will ask for a more classic, restrained approach. Musically, our role is to both challenge and support the creative at the same time. That balance is what excites me moving forward.

Find out more about SOUTH Music and their work here​