Aga Niedzialkowska on the Fundamental Rewiring of Sound’s Role in Advertising
The director of growth at amp on the rapid innovations within audio technology, latest work for Heinemann and how her relationship with music has evolved as part of LBB’s Thinking In Sound series
As director of growth at amp, Aga Niedzialkowska builds strategic partnerships and serves as the first point of contact for clients. She views her role as a partnership-builder dedicated to understanding and solving business challenges through the power of sound.
Aga’s unique expertise is built on a dual foundation of art and science. A classically trained pianist from the age of four, her musicality was cultivated at numerous music schools in Poland before she earned degrees in commercial music and marketing from Florida State University. She then built upon this creative foundation with business expertise, gaining invaluable experience in analytical and marketing roles at global giants like Procter & Gamble and Orange.
An integral part of amp since its early days, Aga initially shaped the agency's client management division. It was here she established her signature approach: deeply understanding a client's business to translate their objectives into creative excellence. This was instrumental in developing sonic strategies for influential brands like Netflix, Klarna, BCG, and Uber, and her client leadership in this role was recognised with multiple Red Dot awards. Today, she instills this same client-centric philosophy in the global growth team she leads.
Aga sat down with LBB to discuss sonic branding, her recent work with Heinemann, and the soundtrack of her life.
LBB: When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?
Aga: As the leader of the growth team at amp, my team and I are the first point of contact for our clients, and we begin every relationship with a core belief: you don't sell something as beautiful as sound. You find the right way to share it. Our first conversation is about partnership, not pitching, and we focus entirely on finding the perfect sonic expression for your brand's business challenges.
Whether a client is trying to connect with a younger audience that tunes out traditional advertising, aiming to stand out in a crowded market, or needing to streamline their global production workflow, the business objective is always our starting point.
For every business problem, there are numerous potential sonic solutions. Finding the right one is like a puzzle – you have the brand's objective as one piece, and you need to find the perfect sonic piece that fits it flawlessly. I weigh all the factors, like available touchpoints, target audience, and the business KPIs we need to hit, to come up with what I believe is the perfect solution.
But if that solution feels too standard, or if I have a nagging feeling that we can do something even more creative, that’s when I love to brainstorm with my colleagues from creative, research or production teams. I have the privilege to work with the absolute top brains in the sonic branding industry and tapping into their expertise always helps push the idea into a unique, expansive, and unforgettable territory.
LBB: Music and sound are in some ways the most collaborative and interactive forms of creativity - what are your thoughts on this? Do you prefer to work solo or with a gang - and what are some of your most memorable professional collaborations?
Aga: For me, the most successful creative collaboration – especially in sonic branding – comes from a careful balance between solo focus and group synergy. It’s not just about throwing creative people in a room to brainstorm; it’s about a structured process where everyone comes prepared.
My process always starts with working solo. I need that quiet space to collect my thoughts, play devil’s advocate with my own ideas, and really push myself to see the problem from every angle. Then, once I have a solid foundation, I bring it to the team. That’s where the creative friction generates the real spark, as different expert perspectives challenge and build upon each other.
But the collaboration doesn’t stop there. Once we’ve aligned on a clear direction, we break off again. Everyone takes ownership of their part, working individually towards our collective goal. It’s this cycle – from solo focus to group collaboration and back to individual execution – that truly brings a project to life.
A memorable collaboration that perfectly illustrates this is the groundbreaking sonic solution I developed with my dear colleague Al, our director, music production and sound design, for the Heinemann duty-free stores. We decided to challenge the norm. Instead of using regular background music that most people ignore, we wanted to offer a truly multisensorial solution for travelers walking to their gates through the Heinemann store.
From the moment you walk in, you’re immersed in the Heinemann melodies. But the real fun starts as you move through the space. Different store sections have their own unique sounds, all woven together by a higher, overall soundscape. The result was twofold: not only did we make the customer journey more engaging, but by using specific psychoacoustic techniques, the sounds we designed were proven to actually lower travelers' anxiety levels. Check it out if you are in Copenhagen Airport
LBB: What’s the most satisfying part of your job and why?
Aga: Without a doubt, the most satisfying part of my job is seeing our work genuinely help people and solve real-world problems.
A project that I’ll always be incredibly proud of is the 'sonic handshake' we created for Uber in South Korea. To address the very serious safety issue of passengers getting into the wrong vehicles, we designed a simple, elegant solution. When the ride begins, a unique sound plays on both the driver's and the rider's phones simultaneously. That shared sound confirms it’s the right car and the right passenger, preventing potentially dangerous situations and providing peace of mind for everyone.
And a natural result of that kind of impactful work is a happy client. But it's more than just happiness; it's a deep sense of partnership. Our clients treat us as strategic partners, not just an agency they hire to get a job done, and that’s because we build that foundation from the very first conversation.
Of course, that kind of work is only possible because of the final, most important piece: the people I get to do it with. There’s a special kind of energy when you’re surrounded by people who share your passion. When you look around the room and feel like you’ve found your crowd, and you’re all deep in discussion on a topic you love – that 'click' is everything. It’s a feeling of pure satisfaction.
LBB: As the advertising industry changes, how do you think the role of music and sound is changing with it?
Aga: The role of sound isn't just changing; it’s undergoing a fundamental rewiring, driven by one simple fact: we’re living in a world of ubiquitous earbuds and smart speakers, spending more and more of our time in 'screenless moments' while we commute, cook, or work out. This shift is happening on two fronts simultaneously.
First, on a brand level, the shift from visual to audio is undeniable. Platforms like TikTok and YouTube have made sound the main event, not an afterthought. This audio-first reality forces brands to answer questions that were once ignored: How should your brand sound on a smart speaker? What does a payment confirmation sound like? What is the voice of your brand? These are no longer minor details – they are critical touchpoints that define a brand's identity in an increasingly screenless world.
But the more profound change is on the personal level. We're seeing a fundamental shift in how people use sound. For many, especially younger generations, audio has become a functional tool for wellness. It’s a form of meditation, a focus aid, or a mental therapy session delivered through their earbuds. Sound is no longer just entertainment; it’s a part of their self-care routine.
This creates a massive opportunity, but also a huge responsibility. If your audience is using sound to find focus or calm, a loud, generic ad is more than just an interruption – it’s an intrusion. Brands can no longer just shout into the void; they have to find a way to add value to a user's listening experience. The brands that understand this deeper, more intimate role that sound now plays in people's lives will be the ones that truly connect.
LBB: Who are your musical or audio heroes and why?
Aga: I don't really have 'heroes,' but I do have a deep admiration for certain composers and artists who inspire me in different ways.
Growing up with classical music, I have to start with someone like Beethoven. The fact that he composed entire symphonies while being deaf is the ultimate testament to music as an intellectual, structural art. It’s a level of genius that is simply awe-inspiring. On the other hand, I'm deeply moved by composers like Ludovico Einaudi and Nino Rota, who are pure emotional storytellers. Their music is a direct line to feeling, and they can take you on a whole journey with just a few notes.
But then there’s a category of inspiration that’s deeply personal and connects me to my roots: the great Polish singers like Anna Jantar and Sława Przybylska. They represent a golden age of Polish music, a time of true level of musical artistry and craftsmanship you don’t always see today. Anna Jantar had this incredibly iconic voice of the 70s, and her songs were filled with beautiful melodies and lyrics that always had a deeper meaning. Sława Przybylska is a legend from an even earlier era, known for her incredibly expressive, poetic interpretations.
What they both represent is an incredible attention to detail. They aren't just songs; they're stories. And for me, no matter where I am in the world, hearing one of their voices is like an emotional anchor – it instantly brings me back home.
LBB: And when it comes to your particular field, whether sound design or composing, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?
Aga: Since my work is in growth, I find my biggest inspirations often come from the world of business rather than from specific composers. A concept that has really stuck with me recently is the idea of ‘Noise vs. Focus,’ which I heard Kevin O’Leary discuss on Steven Bartlett’s podcast, ‘The Diary of a CEO’.
The principle is about differentiating between the few activities that generate almost all of your results (the focus) and the vast majority of other tasks that just make you feel busy (the noise). The most challenging part of this idea is that even good and meaningful things can be noise. It’s about having the discipline to say 'not now' to a genuinely good idea because it distracts from the one breakthrough opportunity that will truly change the game.
In my work, this translates directly to how we approach growth. 'Noise' can be the long list of inquiries we receive; 'focus' is identifying the specific brands where our partnership can create the most meaningful impact. It’s about having the discipline to pursue the right opportunity, not just the biggest one. This single, focused effort allows us to go deeper, investing the creative and strategic resources necessary to create a truly defining piece of work. That work not only transforms the client's brand but also redefines what's possible in our industry, becoming a beacon for future partners who share that same ambition.
It’s a mental model that helps cut through the clutter and prioritise effectively – a mindset I’m trying to master myself, and a way of thinking I’d love to instill in my team, because it’s about working smarter, not just harder.
LBB: When you’re working on something that isn’t directly sound design or music (lets say going through client briefs or answering emails) - are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?
Aga: I generally find music more of a distraction than a help when I need to do deep-focus work. Having worked from home for several years, I’ve come to rely on a quiet environment to collect my thoughts and find solutions.
My brain is just too wired for music to ever let it be simple 'background noise.' If a song has lyrics, I’ll inevitably start singing along in my head. If it’s instrumental, my post-music-school habits take over, and I start subconsciously analysing the harmonies and chord progressions instead of the document in front of me.
That said, I'm very curious about the new wave of customised AI soundscapes that are designed specifically to improve focus. We were discussing them internally recently, and I'd love to see if one could actually make me more efficient.
LBB: I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years... how does that factor into how you approach your work?
Aga: It’s true that audio is often consumed in distracting environments or through low-quality device speakers, but I see that as only half the story. The other half is the incredible rise of high-quality, noise-canceling headphones.
This isn't just a niche trend; it's a mainstream phenomenon that gives us a direct, intimate, and high-fidelity channel to the listener. It’s the perfect gateway to introduce more immersive and sophisticated audio solutions to our clients.
The rapid innovation in audio technology gives us a dual opportunity. We can create incredibly rich, personal experiences for headphone listeners, and simultaneously, we can use that same technology to transform public spaces, like retail stores, into truly immersive environments.
Because of this, audio is no longer just a background element; it has evolved into a critical thread that must be woven through the entire customer journey. By designing interactive and immersive soundscapes that are a core part of that journey, we can actively engage the listener and allow them to feel fully present and connected to the space.
My ultimate goal is to use sound to counteract the modern tendency to rush and live on a surface level. I’m here to enable brands to create moments that make people stop, listen, and truly feel something. This could be through the beautifully immersive sound of a podcast that transports them into the story, or an engaging soundscape in a duty-free store that turns a mundane wait into a captivating sensory experience. By creating these high-quality audio experiences, we give people a rare opportunity to connect more deeply with their surroundings and the present moment, which is what leaves a lasting impression.
LBB: On a typical day, what does your ‘listening diet’ look like?
Aga: My listening diet is very intentional and depends heavily on my mood and the time of day. You could say I have a different soundtrack for each part of my routine.
My mornings are sacred and require a gentle start – usually some not-too-energetic indie or chill pop vibes. My friends found this out firsthand when they once tried to play ‘Walk’ by Pantera first thing in the morning. I had to gently intervene and request something a little calmer.
For the first few hours of the day, my brain isn't quite ready to process music with a high degree of intensity or complexity depending on the track; I get easily overwhelmed.
The centerpiece of my listening day is my one-hour lunch walk, which is always with headphones. My audio choice is tailored to what I need at that moment. If it’s a mental break, I’ll choose something calming and revitalising. If I’m in a mood 'Okay, you’ve got this, Aga,' I’ll switch to empowering, high-energy tracks. And if I’m craving new knowledge, I’ll choose a psychology, business, or finance podcast.
The final chapter of my daily listening is my gym session. Here, music’s role becomes purely functional: to drive my workout and create a space for me to disconnect. It’s not a time for absorbing new content, so podcasts are off the menu.
Instead, I need powerful tracks that help me focus on my workout and be present in the moment. My playlist is an energetic mix of American rap, electronic, and motivational pop – a combination that provides the powerful boost I need.
LBB:Do you have a collection of music/sounds and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised spotify-er…)?
Aga: My collection has two distinct sides. The first is physical: a growing collection of music sheets from my years of piano training. They are the foundation of my musical journey, and I still add new pieces to the collection from time to time.
The second side is purely digital: one sprawling, unorganised Spotify playlist of every song I've ever liked. It's a truly global sonic journal where you'll find Polish folk next to Serbian pop, Dominican bachata, right alongside Italian classics, and even country tracks from my time in Louisiana.
Ultimately, it’s less of a 'collection' and more of a sonic diary that’s constantly evolving – a perfect, unfiltered snapshot of my moods, travels, and memories.
LBB: Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music?
Aga: Outside of music, I’m deeply moved by architecture, especially sacred spaces like churches. For me, they are places where history, art, and a sense of a ‘higher spirit' all converge.
I lived in Palermo last year, which was a dream – a city where you can see centuries of history layered on top of each other. You can stand in a single building and see the legacy of the Normans blended with distinct Arabic influences, like intricate geometric mosaics and stunningly detailed carvings. (If you ever get a chance, check out Chiesa del Gesù in Palermo – that one is one of my faves). I find a profound sense of peace in these spaces, immersed in the beauty and the incredible craftsmanship that feels like a form of devotion in itself.
And for me, that feeling is inseparable from music. Having taken years of music history classes, I can’t listen to Gregorian hymns without thinking about sacred intervals. I vividly remember a performance of a Mozart’s Requiem D minor with a four-hands piano duet and full choir in the St. Giuseppe church in Palermo. The sound didn’t just travel through the cathedral; it traveled through me, filling my entire soul.
It was one of those moments where the architecture and the music combine to create an experience that feels truly sacred, connecting you to history and to a spirit much larger than yourself. I believe that my music education unlocked a deeper level of understanding for me, allowing the music to completely move me. I always hope the people standing next to me can feel that incredible connection too.
LBB: As we age, our ears change physically and our tastes evolve too... how has your relationship with sound and music changed over the years?
Aga: My relationship with music has always been one of love, but the nature of that relationship has evolved from deep discipline to broad discovery.
As a classically trained pianist who started at age four, my world was built around music. It was a life of chosen discipline – daily practice, formal classes, and preparing for performances. It was about the deep, focused pursuit of mastering one craft, and I'm incredibly grateful for it. That dedication taught me a work ethic and persistence that I use every single day.
Now, my relationship with music is much broader. I still love and play classical music, perhaps even more freely than before, but my listening has expanded dramatically. Now, my relationship with music is much broader and more about discovery. My travels, in particular, have opened me up to new genres, creating a personal collection of music that reminds me of where I've been.
My listening is no longer about a structured regimen; it’s guided by my mood, my location, and the simple joy of finding a new sound that connects with me in that moment.
