The film and TV business has experienced enormous growth over the last few years, and the music industry has taken notice, especially after two years of a lockdowned live sector. This has led to music supervisors and the sync field in general experiencing a whole new level of demand and relevance, while also bringing labor issues for music supervisors to the forefront through calls for unionising and social media campaigns like #silentwithoutus and #musicsupervisorequity.

We’ve all seen how “Running up That Hill” from 1985 is now on top of all lists, thanks to the clever work of music supervisor Nora Felder on Stranger Things. But what kind of work lies behind such a successful sync, and how can the music industry follow up on this? How can the music business get the most out of this market opportunity, and how has this fast growth affected the role of the music supervisor? And what does it take to be a successful player in this business today? And what about the future, does it look even brighter for the sync part of the industry?

The State of: Sync

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