August, 2026.- André Faría has always seen Evil Twin Music as a creative partner specialized in music, rather than just a production company. The gap in the market, he explains, is that there are many music production companies that are great at music and equipment, but not necessarily at advertising and communication. Advertising is a language—almost like an instrument itself. It is not just about the track or the voice-over in a film. It is about all the intangible things: creativity, aesthetics, client culture, agency, and the vibe.
In this interview, Faría discusses the evolution of Evil Twin Music from a traditional audio production house into a creative music agency. He shares the story of Nike World Cup “Vai Na Brasileragem,” where they did not touch an instrument but created a whole world in terms of the vibe of the film before it was filmed. It ended up featuring one of the coolest Brazilian funk artists in Brazil.
Faría also reflects on what changed in how brands think about music. Not every brand realizes how important music can be to connect with an audience. Brands that really understand music as one of the most powerful assets tend to dig into the process—they want to craft, experiment, and do really original music supervision. He quotes John Hegarty: people do not necessarily want to connect with advertising—that is why your story needs to inspire them—but people do want to connect with good music.
On the transition to a strategic partner, Faría notes that it is not a speech or an argument that convinces people. It is the work. When a client sees work for Nike, META, Apple, or Budweiser and feels that there is something different, that is when the conversation starts.
1. The Transformation of Evil Twin Music: Evil Twin Music is transitioning from a traditional audio production house into a creative music agency. What specific gap in the market did you see that required this evolution, and what does a “creative music agency” do that a traditional audio production company doesn’t?
We’ve always seen ourselves as creative partners specialized in music, rather than just a production company.
I don’t really believe that personal taste is what drives the choice of a music supervisor. It’s more about strategic thinking combined with a personal feeling — a mix of trends, cultural references and life experience. In my case, that comes from being both an artist and a creative director.
I think the gap in the market is that there are many, many music production companies that are great at music and equipment, but not necessarily at advertising and communication.
You can be a great guitar player or an amazing DJ and still not be a great music supervisor or advertising composer.
Advertising is a language. Almost like an instrument itself. It’s not just about the track or the voice-over in a film. It’s about all these intangible things — creativity, aesthetics, client culture, agency and the vibe. When we did Nike World Cup “Vai Na Brasileragem” for example we didn’t touch a instrument, but we created a whole world in terms of “what’s the vibe of the film” before it was filmed. It ended up with one of coolest brazilian funk artists in Brazil, Leo Justi from Heavy Baile.
2. Music as a Strategic Asset: You’re positioning music as a strategic asset for creativity and brand building, not just an executional service. What changed in how brands think about music that made this shift necessary?
I think this shift is necessary because not every brand realizes how important music can be to connect with an audience. That’s the first point. There’s an opportunity here.
We’re very, very good at making brands believe in good music — in craft, in cool music — and, more importantly, at explaining why that specific music can be so powerful to that specific film.
The second point is that the brands that really understand music as one of the most powerful assets of a brand tend to really dig into the process. They want to craft, experiment and do really original music supervision. And we are one of the best.
I talked to John Hegarty during his course last year, and I really loved his point of view on music. People don’t necessarily want to connect or engage with advertising — that’s why your story needs to inspire them. But people do want to connect with good music.
So a great song can be one of the most powerful weapons of communication. People want to engage.
3. The Creative Process Evolution: You said Evil Twin is now participating from the beginning of the creative process rather than just being brought in at the end. What’s the biggest challenge in being invited earlier, and what’s the biggest opportunity?
Our relationship with come agencies, directors or clients is a good example.
In many projects, we like to sit together and brainstorm ideas. Just have fun with it.
The Lacta 5 Star campaign from Wieden+Kennedy is a good example. (See here and here) We ended up inventing a whole language for the animated chocolate funny characters. But that started way before the animation, so we had time not only to make it happen in the best possible way, but also to brainstorm directly with the creatives in the room. The soundtrack was entirely make with our voices, including the creatives.
The same thing happened with The Branch Museum of Design’s new sonic branding and ID system. They came to us and said, “Hey, Evils… we have this design concept. Do you think it can be translated into music?”
It wasn’t just the creative freedom they gave us. It was the creative environment and the whole inspiring process around it.
4. The Marina Leite Hire: You hired Marina Leite as Director of Client Services & Sales at this pivotal moment. What specific capability did you need that her profile brings, and how does she change how Evil Twin shows up for clients?
We have a very strong culture. And one of the main things we believe in is people, not skills.
She’s one of the most experienced executive producers in the Brazilian market. She’s seen it all. But at the same time, she’s hungry for the future, for things that have never been done before.
She has also something I really love — and that I also have: I can only work on something I truly believe in. I need to work on things that make me proud.
So, beyond all the technical skills, her presence inspires the whole team. And, as a result, it inspires our clients too.
I think one of the most important things for anyone working in audiovisual is to have an optimistic, bold, creatively driven point of view on life — not just on the job. She has it all. And I believe in makes a big difference for any agencie that works with us.
5. International Expansion: Evil Twin is opening operations in the United States. What does the US market offer that Brazil doesn’t, and what’s been the hardest part of structuring the international operation?
I think the main difference is the pace.
In Brazil, everything is super fast — decisions, production, meetings, everything. In the US, there’s more of a step-by-step process, so you have a little more time to really dig into the craft and experiment, in a very carefully planned creative process.
But the hardest part is always people. Always people.
Because, once again, at Evil we believe in people, not skills.
It took us years to find someone in NYC who really represented our culture — in terms of creativity, optimism, professionalism, and even spirituality. We interviewed more than 20 people before we were lucky enough to find the right person.
6. From Supplier to Strategic Partner: The traditional production model has agencies and brands handing off briefs to audio houses. How do you convince a client to let you into the room earlier when they’re used to treating music as an afterthought?
I’ve always believed that in advertising, it’s not a speech or an argument that convinces people.
It’s the work.
So when a client sees our work for Nike, META, Apple, Branch Museum, Itaú, Budweiser or Samsung and feels that there’s something different — even if it’s intangible — that’s when we start a conversation.
And that conversation isn’t only about music. It’s about the creative process, trends, bands, culture, and how inspiring it is to have creative people from the music world around you.
