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In my three years at Spotify, I first worked as a senior creative, managing my own clients as well as managing creative strategists to build plans that spanned both the music and (at the time) emerging podcast sides of the ad business.


As Gimlet, Parcast, and The Ringer were gradually brought under Spotify management, I was given the opportunity to move back into podcasts, this time reporting into the associate director for ad production. As the senior manager for production, I provided concepting & script-editing support for four direct reports who executed all host-read and voice talent ads for Spotify’s largest clients.


In addition to my managerial role, I led the standardization of Spotify’s podcast ad offerings across its studios. This entailed taking the best practices I’d learned at Gimlet and merging them with those from the other studios to build a cohesive set of offerings from the “standard” :60 host read to longer-form sponsored segments, and net-new formats where we would concept and cast professional voice actors for ads on shows that did not offer host reads or to run in front of a whole network/audience. This process involved both internal collaboration with nearly every business team to operationalize, as well as the external work of presenting in front of hundreds of clients to educate them on our suite of products.

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One of the first campaigns I worked on, with Hyundai, ran across music and podcasts, where talent like Jemele Hill shared stories about their favorite places in their hometowns.

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Unifying Spotify’s podcast ad offerings helped buoy the business across all studios.

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Working with one of my reports, we came up with an annual campaign for USPS where host of Heavyweight Jonathan Goldstein spoke with letter carriers about memorable moments they delivered during the holiday season.

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