Matt Meyers is a British music executive, producer, publisher, manager and technology entrepreneur. He has worked in the music business for more than three decades, across production, rights, artist development, television and international repertoire.
Matt’s professional life began in UK club culture in the 1990s. He promoted events, DJed in Britain and abroad, taught himself production and engineering, and built a network among artists, producers and A&R teams. By the end of the decade Matt had moved into international licensing and music-business development.
In 2000 Matt took over the London Bridge studio complex and redeveloped it as a multi-studio creative base. That period led to producer management, mainstream pop work and the relationships Audiofreaks and Soulshaker grew out of.
In 2004 Matt co-founded Audiofreaks with Warren Meyers and Dale Askew. It grew into a production, publishing, management, licensing and campaign business, with Soulshaker as its best-known production identity. The Official Charts Company records Soulshaker’s Hypnotic Erotic Games at No. 22 on the Official Independent Singles Chart in August 2005, and No. 10 on the same chart in April 2006.
Later Soulshaker work connected the team to CeCe Peniston, Chaka Khan and Deborah Cox. The Soulshaker remix of Chaka Khan featuring Mary J. Blige’s Disrespectful reached No. 1 on the Music Week Commercial Pop chart in the UK, reported in the issue dated 16 May 2009.
Deborah Cox’s Let the World Be Ours Tonight reached No. 1 on the Billboard Dance Club Songs chart in the US in 2017. Matt produced it with Warren Meyers as Soulshaker, and originated the project through Audiofreaks. It was written by Warren Meyers and Jenna Donnelly.
International campaigns are the centre of Matt’s work. He has helped hundreds of artists get their singles licensed around the world, into the charts and played by DJs internationally. Across writing, production and remixes, the Audiofreaks team has worked with artists including Nicole Scherzinger, Afrojack, Alesha Dixon, Wiz Khalifa, Snoop Dogg, Crystal Waters and Martha Wash.
Audiofreaks worked on ITV2’s award-winning, BAFTA-nominated series The Big Reunion, with Matt as one of its music directors and music producers. The company has made title music for prime-time series including Ant & Dec’s Saturday Night Takeaway, Surprise Surprise, Meet the Parents with Holly Willoughby, Peter Andre: My Life and Coach Trip: Road to Ibiza on E4, and Matt and the team were music producers on Netflix’s Dance 100. Music Week reported in February 2014 that Peermusic had extended its deal with the company, noting four prime-time television theme commissions.
International publishing became a major part of the work. Oricon credits Mathew Oscar Meyers as co-composer and co-arranger on Super Junior-D&E’s Bari 5!. JASRAC’s 2019 awards documentation lists Galactic Music as a publisher of Namie Amuro’s Just You and I, administered by Nichion. Audiofreaks and Galactic writers and producers have contributed to K-pop and J-pop releases by TWICE, IVE, ITZY, NCT DREAM, SHINee and SixTONES, among others.
Matt manages the London pop artist Allegra. Record of the Day names him in her management and publishing contacts on releases from 2021 to 2025, and in Livvy Lauren’s management contacts in 2024.
In 2024 Matt co-founded HitVocals with Warren Meyers, Dale Askew and music manager Chris Herbert, whose career includes putting together the Spice Girls. Companies House lists Matt as a director from incorporation and one of three people with significant control. HitVocals is a curated marketplace for human-recorded vocals, with direct artist contact, exclusive and non-exclusive licensing, stem delivery, and a service that turns human-written AI demos into performances recorded by professional singers.
Matt also runs Londons.ai, an AI consultancy, as an applied AI strategist, builder and creative technologist. It helps companies work out where AI can improve how they operate, create content, develop products and manage knowledge, and then helps build it.
MMMMM brings those strands together: records and repertoire, people and partnerships, rights and business development, television and media, and practical technology built to last for human talent.
