Pierre Carnet’s bringing a fresh beat to Dubai’s creative scene.
In a city where sound often precedes sight, it’s easy to overlook the profound influence that music and sound design have on our lives. Yet, the decisions we make daily—whether it’s selecting a brand, a service, or a product—are often guided by the auditory cues that shape our perceptions. Enter Pierre Carnet, Managing Director of MassiveMusic, the region’s pioneering company dedicated to crafting bespoke sounds and compositions for some of the regions leading brands, including the RTA and Careem.
Originally from France, Carnet brings a global perspective to Dubai’s creative landscape, blending rich musical expertise with a forward-thinking vision. With years of international experience under his belt, he’s redefining how brands in the GCC leverage music and sound to tell their stories. We sat down with Pierre to dive deep into his journey, his fresh approach to branding through sound, and the trends he’s seeing take shape in the region’s evolving music scene.
Here’s what he had to say:
Zenith: Can you tell us about your journey and how you became Managing Director for MassiveMusic in the MENA region?
Pierre: Sure! I work in the intersection of music, branding, and entertainment. My journey started in music production and DJing, primarily in hip-hop, before moving into the world of music for brands. I began my career in France at an ad agency, working with luxury brands like Hermès, Chanel, and Louis Vuitton, creating music for ads and fashion shows. I also had a hand in film and TV, working as a music producer for a few Netflix projects and feature films.
In 2020, I joined MassiveMusic, the world’s leading agency for brand sound, which has been around for over 20 years with offices globally. We offer everything from custom music for ads to licensing famous tracks, audio branding, and creating sounds for apps, cars, and more. Our most well-known project globally is the iconic TikTok jingle.
I initially joined the company in a sales role but quickly saw huge potential in the MENA region. With the rapid growth of homegrown brands in the UAE, Saudi Arabia, and Qatar, I recognized a gap in the market for high-quality, locally tailored music and sound. Much of the region’s branding work was being outsourced to Western companies, and I saw an opportunity to build something more locally rooted.
In 2022, we made the decision to establish ourselves in Dubai and invest in the region’s music and branding ecosystem. I moved from Amsterdam to set up one of the first dedicated music agencies in the area, contributing not only to the growth of our business but also to the cultural and economic development of the music industry here. It’s been a thrilling journey, and we’re just getting started.
What drew you to the music and branding industry? And what would you say is the most exciting thing about it?
Music and branding are two fields I’m deeply passionate about because they’re both dynamic and highly creative. My background as a musician—creating beats for French rappers and DJing at hip-hop shows—shaped my love for creative work. What excites me most about the music and branding industry is its constant evolution. In advertising, every project is fresh, and each one brings a new challenge: how do you use music and sound strategically to engage and impact an audience?
Unlike creating music as an artist, this process involves thinking beyond the song itself. It’s about understanding where it will be used, its purpose, and the story it tells for a brand or product. That shift in approach makes the work both exciting and ever-changing. One month, we’re working on hip-hop, the next on opera or reggae—it’s a constant flow of new creative possibilities.
Can you tell us about the most memorable project you’ve worked on since joining MassiveMusic?
There are a couple of standout projects I’m really proud of, especially in the realm of audio branding. Since we launched in the region, creating sound ecosystems for brands has been a game-changer. Audio branding isn’t just about a catchy jingle—it’s about crafting a sound identity that connects with people across every touchpoint, from ads to apps and even call centers.
Two projects I’m particularly proud of are Careem and Aroya Cruises. For Careem, the challenge was creating a sonic identity that captured the essence of an app offering everything—food delivery, finance, and more—without being chaotic. We focused on the simplicity of their brand, combining modern, digital sounds with subtle local influences to reflect their core promise: making everything easy.
The Aroya Cruises project was also exciting. It’s the first Arab cruise line, and we crafted a full sound experience across their ships. From the moment passengers arrive at the port to the onboard music in elevators and lounges, every sound is designed to immerse them in the brand. It’s the first time, as far as we know, that a cruise line has had a fully tailored audio experience, and it’s been incredible to see it come to life.
Would you say you’re for or against AI in the music industry?
Honestly, whether I’m for or against AI isn’t the point—it’s happening, and fast. In a few years, I believe AI-generated music will be on the charts and in people’s daily playlists. As an industry, we need to prepare for this shift, both from a business and ethical standpoint. How do we ensure musicians and composers can still thrive when algorithms can generate music instantly? And from a legal perspective, if an AI creates music based on my work, shouldn’t I have a claim to it?
The real question isn’t whether AI will disrupt the industry—it’s how we can use these tools to our advantage and adapt to this new reality.
How do you work with local artists here and experts to bring their projects to life?
We collaborate closely with local artists on a per-project basis, whether for campaign films or other media. This is a key part of our approach, and we take pride in doing it differently here.
One thing I noticed quickly after moving here is that musicians in the region aren’t always valued for their work. They’re often underpaid and given little creative freedom. For example, a composer in the Middle East can earn about five times less than one in Europe for the same job, and the process is rushed with little room for creative exploration.
At MassiveMusic, we’re working to change that. We ensure the artists we work with are paid fairly, given the time they need, and trusted with the creative freedom to bring their unique touch to each project. Ultimately, we believe in respecting and listening to the experts.
What trends do you see shaping the future of music in branding and advertising?
In the region, audio branding is rapidly gaining momentum. Brands are starting to see music not just as a one-off for ads or campaigns, but as a strategic, long-term tool for growth. Ten years ago, this wasn’t happening much, with only a few standout examples like Emirates’ iconic music or MAF’s piano jingle. Now, almost every major brand is focused on building a complete sound ecosystem with recognizable assets they can use across multiple platforms.
What’s exciting is that while the Middle East may have been a bit late to the game, it’s now adopting audio branding in a more ambitious and holistic way than some Western markets. Brands here are asking for 20, 30, or even 40 pieces of music to create a dynamic sound world—something that’s really pushing the industry forward.
On a broader scale, the MENA region was the fastest-growing music market globally last year, with local artists gaining more traction and brands embracing more homegrown sounds. This blend of local and global influences is creating something unique and exciting, particularly in places like Saudi Arabia, where the music industry is booming. The future looks promising for both brand music and the regional music scene as a whole.
