Thomas O'Shea Music Producer – Genre-Bending Innovator

I think my approach and workflow are similar to other producers and writers, but the melodies and textures I end up making can mimic more of a classical composer’s style. If you pay attention to how I do melody, chords, harmony, and percussion you’ll notice that none of the instruments are fighting for space. What I mean by that is that I think about music creation like a classical composer. The bass has a certain range and should not interfere with the middle harmony and textures or high harmony or top line. Each “voice” in the mix has its own space and does its own job to add to the record. I also use the same approach for arrangement and mix techniques so that my mixes sound full but not muddy.

Thomas O’Shea is a genre-blending music producer and songwriter with classical roots.
Known for his innovative sound design and diverse collaborations, he bridges tradition with modern production.
From crafting beats out of found sounds to working with Emmy winners and drag icons, his creativity knows no bounds.
With a foundation built at UW Oshkosh, Thomas continues to push boundaries in music and media.

You started your musical journey at just 6 years old on the piano. How has that classical foundation influenced your current approach as a producer and songwriter?

You’ve worked with an incredibly diverse set of artists—from magicians and mentalists to drag queens and Emmy winners. What have you learned from these cross-genre collaborations?

First and foremost, I gained a new respect for those entertainers. Before working with any magician, comedian, or any other act, I thought that musicians worked the hardest. What I realized from working with other entertainers is that they work just as hard and really have the same kind of come up, work experience, and work ethic as musicians. I also had to figure out pretty quickly that even if I’m a big fan of the performer, we both have a job to do and our mutual collaboration and respect results in a successful show. At the end of the day those performers are not above anyone- they’re still human and should be treated as such.

Tell us more about your band Let Them Eat Cake. What was the vision behind it, and how did it shape your creative identity?

Nowadays, my band is more of a collaboration group writing and releasing music, but we started off as a group for an audio class at UW Oshkosh. The idea came about from our lead vocalist, Lily Lavon Scott. They had the idea for a band and the band name for years and saw the opportunity to put us together because we were already working together on audio projects. We each played a different instrument and had our own backgrounds, which also helped us work creatively together.

Before creating and joining Let Them Eat Cake (aka LTEC), I was pretty much set on only working with classical, pop, hip hop, edm, and alternative sounds. With a push from my bandmates, I became more open to listening, writing, and performing metal and rock. Thanks to their hard work changing my opinion, I have since been able to co-write, co-produce, mix, and master LTEC songs and I’ve also had the pleasure of mixing rock and metal shows live. Now, I have a newfound appreciation for those genres.

During your time at UW Oshkosh, you experimented with unconventional sounds—like plastic bottles and TikTok memes. What sparked that creativity, and how do you approach sound design now?

The inspiration for working with plastic bottles actually came from YouTuber and musician Andrew Huang. I saw similarities in my and Andrew’s workflow and musical interests, so I wanted to try my hand at what he did at the time I was getting really into production. As to how the plastic bottle project (Is Pepsi OK) came about, that’s all thanks to my electronic music class I took at UW Oshkosh. The assignment was to create a found sound composition. Other people in my class had a lot of cool ideas- using sounds to represent food, or cleaning, or gardening, or even working at a desk. They used items that fit the overall idea of their track. While I liked their ideas and their work, I wanted to do something Andrew Huang style- so I chose to make an entire song out of a Pepsi bottle.

As for the TikTok samples, I was really just having fun. After watching absurd TikToks or politicians doing their thing, I wanted to try remixing what I saw. This didn’t have anything to do with school- I made those tracks as a “break” from my homework and client work to have a little fun making music that wasn’t connected to a grade, invoice, or potential placement.

Today, I use samples and sound design differently. A lot of my work comes from collaborators sending me loops, samples, or acapellas for me to produce and put on my BeatStars or send back to them. So, instead of writing full tracks out of plastic bottles or TikTok memes, I incorporate cool found sounds into those records. In my music (solo or for a client), I’ll incorporate whatever is around me into a song. Recently, I sampled the sound of a soda can being opened and layered it with a snare, sampled myself flicking through a wad of Post-it notes and used it as a hi-hat, and (my favorite lately) sampled my voice and layered it with synths or drums to add different textures.

You’ve collaborated with Billboard-charting and Grammy-nominated producers. Can you share one standout moment or lesson from those experiences?

I’ve learned that this music industry work takes time and you need to be consistent. The process from main producers to artist to label is long- and nothing is guaranteed until the message that confirms a placement. So now, instead of trying to impress, I try to show up and be consistent- no matter the artist, sound, or style. If a producer I work with is working with someone I want to work with as well, I’m sending 2-5 loops or beats a week unless I'm told otherwise.

You've released a mini musical, a beat tape, a solo single, and a loop pack. How do you balance artistic expression with commercial practicality?

I’ll admit, it’s pretty difficult. There are many sides to my business and any side could be the next profitable project. Because of that, I tend to focus most of my energy on one project at a time- sort of like school but instead of many classes I have one big project. Each week, I decide what the most important thing is to work on, and focus on that for the entire week. Then, as “breaks” I might work a little here or there on new beats, collaborations, or YouTube videos. Some weeks I’m doing nothing but writing, producing, mixing, and mastering music (my favorite part, obviously). Other weeks, I’m only sending emails, working on promo, or fine tuning work for clients. I’ve found that each project I do, whether it’s for my personal music project or for a client, I learn something that I can incorporate into my workflow so that the next project runs even smoother.

You’ve studied under accomplished educators like Dr. Eli Kalman and Dr. Ed Martin. How has formal training enhanced your work in today’s digital music space?

I’ll be completely honest- the main things formal training has given me were really just experience, a larger network, and a space to do my work in. When it comes to beat leases, loop pack sales, working with clients, sending my work to established artists, and sampling cool sounds- that was all me experimenting with the assignments and required work I had to do for school. I can say that I am a much better musician and am more prepared to take on the music industry, but the reason behind that is because I took what all my professors and mentors said to heart and did everything in my power to soak in what they told me and put it into practice. For music, school is what you make of it. If you’re just going to class, doing the bare minimum for your projects, and then going back to your dorm or apartment to just hang out and party- music school might not be for you. However, if you take every opportunity, go into the studio as often as you can, befriend your professors and work with them to develop an idea for your career, and push yourself to do everything you’re offered to do then school is an amazing tool and asset that will push your career forward. Dr. Kalman, Dr Martin, Dr. Mayrose, and Nathan Edwards laid the foundation but I had to be the one to build the tower.

Producer Culture and other media outlets have featured your work. How important has media exposure been to your growth in the industry?

Personally, I think less about the numbers and more about what I can do to change potential listeners into either fans or clients. Media exposure is the best way, in my opinion, to do that. Sure, TikTok posts, Instagram Reels, and YouTube can help, but showing that you made a song out of a Pepsi bottle only shows the talent. In this day and age, everyone is talented, but not everyone has credibility which is as important if not more. With the media exposure I’ve been fortunate to receive (including this interview!) comes credibility. And credibility is what will push my growth in the industry.

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What advice would you give to young producers looking to carve out a multifaceted career like yours—from working onstage to behind the scenes?

The sky’s the limit, but you need to know how the music industry works! Before you start working with artists or other producers- learn the industry. There are many great resources out there- videos, books, insider info from industry professionals on TikTok, Instagram, and YouTube. Once you know the game- play the game to the fullest of your ability. Also, you never know what will happen if you ask. So send that DM. Send that email. Post that TikTok. Whatever you think will get you one step closer to your dreams. Do it.

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