IN CONVERSATION WITH MATT HILL, CO-FOUNDER OF THE BRITISH PODCAST AWARDS

Podcasts are evolving. Many of today’s most successful shows now sound more like television than traditional radio - richer, more immersive, and more cinematic. But what’s driving that shift, and how can creators harness it in their own productions? At the centre of this transformation is music.

In this interview, Matt Hill - co-founder of Podcast Discovery, co-founder of the British Podcast Awards, and contributor to The Media Club Podcast - shares his perspective on why hit podcasts increasingly mirror TV in their storytelling. From emotional connection to production value, Matt explores how music plays a crucial role in helping podcasts stand out in a crowded and competitive market.

Podcasts are becoming more cinematic in their storytelling, often drawing from TV production techniques. Why do you think music is so essential in creating that immersive, TV-like experience for listeners?

It’s a mark of quality: having that huge, sweeping orchestral score, or the heightened tension of a minimalist work… it tells a listener that the makers care about all aspects of the story, and that we’re going to work hard to make you feel something.

One of the reasons I got into audio was the work of Dirk Maggs - he was making these cinematic audio dramas for Radio 1 in the 90s, working with DC and Marvel… and had subsequently been picked up by Audible to direct audio blockbusters in the Alien universe, as well as Good Omens. And music plays such an important role in maintaining that quality in the franchise.

In your work with The Media Club Podcast, what role does music play in shaping the mood and emotional arc of a podcast episode? Are there specific examples where music has really elevated the content?

So, we make a weekly show for the media industry - this is an audience that understands genre and formats, so we like to have fun with that by wrapping up each episode with a brand new gameshow format, complete with theme and tension music.

When sourcing music for podcasts, what key factors do you consider to ensure the track compliments the story and resonates with the target audience?

It’s a light-hearted feature, but also a nod to the incredible work that creatives are doing every day across the UK. So it needs to be nuanced, as well as very silly.

What that means is that if we do a parody of The Traitors one week, we’ll need music that feels exactly like that - not just tension beds, but stings and sweepers too - to accurately mirror the original production.

What are the key music trends you're seeing in podcasting right now?

The trend actually is towards better production skills: we’ve had a huge influx of talent into the industry in the past couple of years that are gamely playing with music in documentaries. Some have come from TV; others self taught - but we’ve come a long way from the days where there’s a separate sound designer/SM for each project.

I think that’s a good thing, in that producers should be able to work and mix with music. But there’s still room for a specialist sound designer for high-end productions too.

The podcasting landscape is constantly evolving. What do you think are the most significant challenges and opportunities facing the podcast industry right now, particularly for producers looking to stand out in an increasingly crowded market?

I hear from audio-first documentary companies that video is a bit of a headache. And it’s true that some stories work best without film. But I think the opportunities for marketing are so important on social media, that everyone needs a strategy. And your music strategy can be a great help in shaping what the look of your podcast might be.