We caught up with songwriter, producer and Superior Drummer 3 user Phil Cook to talk about his journey into music, the creative process behind writing global hits, the importance of collaboration and how Toontrack fits into his fast-paced workflow.
Let’s rewind to the very beginning. What first pulled you toward making music?
I came from quite a musical background in the sense that music was always around me. My mum always tells me that when I was young, I saw someone playing the violin on a children’s TV program and immediately decided I wanted to do the same. That led to violin lessons, and then I picked up piano at school before eventually teaching myself guitar and bass as well. Music was a constant presence growing up. My parents always had the radio on at home or in the car, so there was a huge variety of music playing all the time. They also took me and my sister to church every Sunday, which exposed me to another side of music through hymns and live musicians. Looking back, I probably absorbed far more than I realized at the time. My interest eventually shifted towards production when I went to university. One of the most valuable things our lecturers encouraged us to do was reverse engineer songs we loved. We’d pull tracks apart, analyze the arrangements, figure out how sounds were made, and try to recreate them ourselves. That process taught me so much about songwriting and production and really sparked my fascination with what happens behind the scenes in a record.
You’ve worked on some of the most-streamed songs of the past decade. What would you consider your first real “big break”– the song that truly took off? What’s the story behind it, and how did it change your life?
One of my first major credits was doing string programming on Lewis Capaldi’s “Someone You Loved.” Even at the time, it felt like a special song. It had such a strong emotional core, and Lewis delivered it in a way that really connected with people. Nobody could have predicted quite how successful it would become. The song went on to have an incredible run around the world and seemed to resonate with people from all walks of life. Being involved in a project of that scale was a huge moment for me professionally. In this industry, strong credits can open doors. Having a song like that on your CV helps get you into better rooms and introduces you to people who might not otherwise know your work. It certainly helped create opportunities and gave me confidence that I was heading in the right direction.
Of all the songs you’ve worked on, is there one you’re personally most proud of? If so, why?
A song that always stands out for me is “I Should Have Stayed at Home” by Ryan Mack, which I wrote alongside Kella Armitage and produced myself. It was one of those sessions where everything came together really naturally. The song came together incredibly quickly, and there was a great energy in the room from the start. Ryan is fantastic to work with, and I think that chemistry made the whole process feel effortless. From a production perspective, it’s one of my favorites because it’s just so much fun. It’s energetic, upbeat, and full of personality. There are loads of quirky little sounds and production details hidden throughout the track that people might not notice on a first listen. Those are often my favorite moments as a producer – the small creative touches that help make a record feel unique.
Today, as an established songwriter, what does your process typically look like? Are you usually brought in to write for specific artists, or do you set up sessions and collaborations more organically?
It’s a bit of both, really. Most of my sessions are organized through my management, who do a great job of pairing writers, producers and artists together. Sometimes I’ll be brought in specifically to work with a particular artist and help develop ideas that fit their project. Other times we’ll do what’s known as a pitch day, where the goal is simply to write the best song possible and then see where it might find a home afterwards. Those days can be really exciting because there are no restrictions. You can follow an idea wherever it leads and then send the song out to different artists, labels or management teams to gauge interest. Some of the best opportunities come from songs that weren’t written with anyone specific in mind.
Speaking of collaborations, how do you feel about co-writing? What do you enjoy about writing with others, and how does it compare to writing on your own?
I genuinely enjoy co-writing much more than writing on my own. To be honest, I get distracted pretty easily when I’m working by myself, so having other people in the room helps keep the momentum going. More importantly, collaboration usually leads to better ideas. Everyone brings different influences, experiences and perspectives, and that often pushes a song somewhere it wouldn’t have gone if one person had been working alone. I think songwriting is very much a team sport these days. Having multiple people bouncing ideas around creates an energy that’s hard to replicate on your own, and some of my favorite songs have come from those collaborative environments.
“Capturing that initial enthusiasm is really important.”
When you’re writing for an artist, how much does the idea of “this needs to be a hit” factor into your thinking? Do you find your best work comes when you’re focused on the end goal, or when you forget about it altogether?
There’s always a little voice in the back of your mind reminding you that everyone would love to write a hit record. That’s the reality of the industry. But at the same time, putting too much pressure on the session can actually be counterproductive. I never want artists to feel like they’re under pressure to create something commercially massive every time they walk into a room. If people are relaxed, enjoying themselves and feeling creative, you’re much more likely to get a great result. One thing I always try to do is get demos finished as quickly as possible, especially when somebody is excited about a song. Capturing that initial enthusiasm is really important. I’ve also learned that you should never give up on a song just because it doesn’t immediately feel like the obvious single. There have been plenty of occasions where an artist passed on a song, only for it to be pitched elsewhere and end up finding the perfect home with someone else. Because of that, I always try to finish every song to the highest standard I can, regardless of my personal feelings about it.
In your day-to-day work, which Toontrack tools do you rely on most? How do they fit into your songwriting or production workflow?
Since I started using Superior Drummer 3, it’s become one of the most important tools in my workflow. Modern songwriting sessions move incredibly quickly, and artists want to hear ideas sounding as close to finished records as possible. Having access to a highly customizable, professional-sounding drum kit that can be built in minutes is a huge advantage. What I love most is how quickly you can achieve great results. You can focus on creativity and songwriting rather than getting bogged down in technical details. Whether I’m building a full production from scratch or simply putting together a demo, it’s often one of the first tools I reach for.
“At the end of the day, people connect with honesty. If a song feels genuine, listeners tend to respond to it.”
Looking back at the songs you’ve helped create that connected on a larger scale, do you think they share any common traits? Is there a certain quality that makes a song resonate with people?
One thing that never seems to change is that people connect with songs about relationships and human emotion. Love songs have been around for centuries and they’re still some of the biggest records in the world today. The challenge isn’t necessarily finding a new topic – it’s finding a new way to express something people already understand and relate to. Everyone knows what heartbreak feels like, everyone knows what falling in love feels like, but finding a fresh perspective or phrase that makes somebody stop and think is where the magic happens. At the end of the day, people connect with honesty. If a song feels genuine, listeners tend to respond to it.
As a professional songwriter, do you ever listen to other songs and find yourself thinking, “I would’ve done that differently” – whether it’s a chord change, a rhyme or an arrangement choice?
Absolutely. Sometimes I’ll hear something on the radio or Spotify and think, “I probably would have approached that differently.” But then I remind myself that other people are probably listening to records I’ve worked on and thinking exactly the same thing. That’s one of the things I love about music – it’s completely subjective. There isn’t always a right or wrong answer. What one person sees as a weakness, somebody else might see as the thing that makes a song special. Different tastes and opinions are what keep music interesting.
When creativity is also your profession, how do you deal with writer’s block? Is it something experience helps you work through, or do you have specific methods for getting unstuck?
I think everyone experiences creative blocks from time to time, no matter how long they’ve been doing it. For me, the best solution is usually to step away for a bit. Going for a walk, making a cup of tea, listening to some music for inspiration, or simply changing environments can make a huge difference. Sometimes when you’re staring at the same problem for too long, you lose perspective. Taking a short break often allows you to come back with fresh ears and hear the solution much more clearly.
And finally: after all these years, what’s still the best part about being a songwriter and making music for a living?
I still get a genuine sense of pride every time a song I’ve worked on is released. No matter how many projects you’ve been involved with, seeing something finally make its way out into the world never gets old. I also love the opportunities the job has given me to travel. Being able to visit different countries, experience different cultures and work with people from all over the world is something I’m incredibly grateful for. On a practical level, becoming a father has given me a new appreciation for the flexibility that comes with this career. When my toddler is ill or needs me at home, I’m often able to rearrange my schedule and be there for her. That’s something I don’t take for granted, and it’s one of the biggest benefits of what I do.
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