Interview: Tom Billington
Our Managing Director, Tom Billington, brings years of top-tier experience, spearheading industry-leading content strategy and creating globally acclaimed productions.
From the Olympics to Glastonbury, Tom has been at the helm of many groundbreaking projects.
At Granny Eats Wolf, he’s redefining what the power of audio can do for top brands, artists and in the wellness sector.
What do you love about audio storytelling?
I love that storytelling can be as simple as a single voice on a mono speaker, or as epic as a world built from sound design, multicast ensemble and full orchestral score in a cinema. Each has the ability to transport the audience anywhere through their imagination, which is what makes audio storytelling in particular so brilliant and why we love creating it. There’s nothing better than putting on a pair of headphones and for that moment being immersed in a story, it’s pure escapism away from screens, distractions and the outside world. This feels more needed and more powerful than ever!
What has been your favourite immersive audio work you have experienced recently?
I have to mention our partnership with Audible on the production of 1984. From start to finish it was a special project. The cast (Andrew Garfield, Andrew Scott, Tom Hardy, Cynthia Erivo) brought their A-game, our composer team of Matt Bellamy and Ilan Eskeri created a sublime cinematic score, writer Joe White put his original stamp on the classic and Audible matched the production ambition with a transatlantic marketing campaign. When I listen now, it is still my favourite thing and the reaction we are seeing from listener reviews and industry awards and recognition are testament to that too. Now it is being released in various languages around the world, its impact and reach continues to grow.
Well-being is also an area we love working in and exploring, from our podcast Sleep On, released in partnership with The Sleep Charity to Cinematic Soundtracks with Edith Bowman for BBC Radio 3 Unwind. Calm, relaxing, immersive sleep soundscapes crafted by our team using the latest data-led techniques means we are experts in the power of audio for mental well-being, an area we are moving into more, watch this space!
Why do you think today is a new era for audio?
The advances in spatial audio, and Dolby Atmos, means a new premium quality listening experience on headphones today and in cars tomorrow. That’s exciting because it opens a world of creativity (and world building). Podcasting has brought on demand audio mainstream, which has meant it has been possible to entice big talent and brands into audio, which means advertising and marketing money has moved over too. Competition to make the best possible product also pushes us and our peers to keep innovating! It’s good times, the creative competition is there and that is a good thing for audiences.
Granny Eats Wolf and Dolby at The Podcast Show in London
You were Content Director for the Podcast Show in London for its first two years. What was great about that experience and what was your biggest learning?
When launching the show I could feel the energy and excitement of the global audio industry. It was tangible how those who work in this brilliant sector see the value in collaboration and how working together brings more investment and then ultimately more creative opportunity into the industry. My biggest learning was the significance of creating an industry defining event with global significance in the UK. This firstly showed me how healthy the audio industry is here in the UK and how the World looks to us as leaders and innovators, and secondly it made me realise how important it is that we support talent and businesses not just in London, but across the UK.
You’ve worked on many high profile events. Which one has been the most memorable?
One that I will never forget was the One Love Concert in Manchester. I grew up around Manchester and at the time was living in Manchester, when those attending the Ariana Grande concert suffered the horrific terrorist attack.
I was at the BBC and I had the responsibility of running the global radio coverage. The period between the bombings and the concert was less than a month. People of the city were still in shock, but very defiant. And around the event as well, people were still in hospital. We had to be attuned to those closest to it and the families and the emergency services. So you can imagine the sensitive nature of that event. And then you had the world's press and interest around it and global stars like Miley Cyrus, Coldplay, Take That, Robbie Williams, Justin Bieber and of course, Ariana Grande all coming together.
All that goes into the mix when you must figure out how to tell the right story, get the tone absolutely right. On one side you have this obviously horrific attack and then on the other, showing a beacon of hope, the unity of the people and the city. Especially the community in Manchester, where music is so much part of the cities identity. The challenge was getting that story right for the coverage that we projected, not just in the UK, but in 50 countries around the world.
When I look back at my 12 years at the BBC, that amazing coming together around community, around music and having purpose that is what I want to ensure we have in the work we do at Granny Eats Wolf and it really shows what the power of audio can do.
There are many great audio companies out there, what’s different about Granny Eats Wolf?
I feel like our experience and our conviction in the team that we're building around us now in terms of the best sound designers, the best directors, the best producers sets us apart and we are coming at storytelling with fresh eyes, and ears! We’re bringing all of these different elements from a variety of content industries and everyone is learning from each other, sharing experiences and perspectives. We’re agile, we want to learn and we are happy to try things quickly and then if things don't go to plan, pick ourselves up and move on which I love. The core of everything we do is storytelling with a twist. Even the three words of Granny Eats Wolf, conjures up an amazing story, doesn't it? It's saying something new and different, with that all important twist.
What are your ambitions for Granny Eats Wolf?
I want everything we make to feel like an event that captures the audience's imagination and for our stories to be diverse, relatable and memorable. Audio is our playground now - but we will expand from that, whilst audio still being our core, upholding the same storytelling principles and ambition. It’s important to me that the team creating our stories is representative of the world we live in today, and we give opportunities for the brightest creative minds to work with us, no matter their background. All storytellers are welcome at Granny Eats Wolf. Around these amazing storytellers we are building the best technical team who create the beautiful, innovative productions that we are already known for.
What has you buzzing about what Granny Eats Wolf can do with sonic branding?
We’re seeing a powerful shift in how brands and agencies view audio, it’s no longer just a supporting act but a game-changer in amplifying a campaign's impact. What excites me most is that we’re a leading voice driving this new wave of appreciation and ambition for audio.
Our expertise shines when we craft the full audio journey of a campaign and nothing thrills us more than shaping a brand's identity through the power of sound. Whether it’s a distinctive audio ident for social media, a curated playlist for an immersive experience, or a deep-dive podcast to tell a brand’s story, we thrive on bringing our teams collective skills and passion to the table.
Our focus is on sonic branding that truly captures and distils the essence of our clients, delivering measurable ROI and unforgettable brand recognition. Importantly, we only work on projects that we’re genuinely passionate about, partnering with brands we love. It’s this passion that keeps us chasing new opportunities and pushing the boundaries of what audio can achieve.
