I’m Reece — songwriter, topliner, and producer based in Aotearoa New Zealand. I work across artist development, co-writing, and sync licensing — usually with independent artists who know what they want to say but haven’t yet found the clearest version of it.
Where it started
I was the keyboard kid. You know the type — sitting in the corner of every school event, working out songs by ear until they were close enough to perform. The goal wasn’t really to cover them. It was to understand them: why that chord change, why the melody goes where it goes, why the chorus lands when it does. I remember playing the Backstreet Boys’ I Want It That Way while the whole school sang along. First time I understood what a song that actually holds a room does.
You don’t get that from theory. You get it from watching a room full of people respond to something you built — and then figuring out why.
How it shapes the work
The question that stays with me is: what is this song actually doing? Not how does it feel — what is happening in it, and where is it going? A song that describes an emotion is different from a song that creates one. Most of the work is closing that gap.
Working in film and TV sharpened that. Music for picture has to hold the scene without explaining it — you notice it when it fails, not when it’s working. That work put me in contact with music supervisors, and those relationships shape how I approach sync now: write to the emotional logic of the picture, not the brief as a checklist.
My background also runs through marketing and communications — which shapes how I think about the work around the music. What does an artist need to represent before anything compounds? Where does the energy actually go? It’s the frame I bring to artist development: the same problem, approached from the outside in — and what identity actually means in practice.
I’m based in Aotearoa and work remotely with artists worldwide. If something here connects to what you’re working on, that’s worth a conversation.