“Music, to me, is all about the humanity behind it.”

We had the opportunity to sit down with Penny Eau - songwriter, producer, and acclaimed Dolby Atmos mixer whose work blends immersive sound with deeply thoughtful storytelling. From her creative process and environmental values to cutting-edge audio technology, AI, and the future of women in music production, our conversation explored the many facets of her artistry and the ideas that shape her music.

 

Your musical journey has taken you from the US to Paul McCartney’s The Liverpool Institute for Performing Arts (LIPA), ultimately shaping your signature alternative, atmospheric indie style. As a singer, songwriter, multi-instrumentalist, and producer, how do these different creative identities collaborate when you first sit down to start a new song?

 

Ooh, I love this question! The Lyricist in me generally has a specific message in mind, and is looking for unique, memorable, striking ways to encapsulate that idea. The Composer then comes in eager to either complement or contrast. The Producer in me chooses sounds to evoke a time, a place, a memory; production is a kind of world building. The Atmos Mixer then looks to envelop and involve the listener. I always want to surprise you a little somewhere, whether it’s an unexpected turn of phrase, a sneaky tonal shift to lighten the mood, a sparkly pop of ear candy.

 

 

Your music is celebrated for its hyper-metaphorical lyrics, tackling everything from deeply personal stories to global issues like climate change. You also dive into these human experiences on your podcast, Penny’s Two Cents. How does your passion for wellbeing and environmental sustainability impact your creative mindset and the energy you bring into the studio?

 

For me, music and environmentalism are both about human connection at their core. I make music to connect with likeminded people and feel a sense of understanding; I do my part for the planet because we are all intertwined and have a responsibility to take care of each other. I think the energy of being open and receptive to connecting with others attracts people also keen to link up, and I’m grateful to be surrounded by creatives who share ethos and experiences when I’m in the studio. Community and collaboration have always been key pillars of creation to me. When you feel safe and comfortable with the people in the studio with you, you can reach a different level of creativity and vulnerability that allows for really evocative, magical music.

 

You're also known as "The Atmos Fairy" holding a Master’s with distinction in Dolby Atmos mixing. You’ve described immersive audio as a way to make music felt, not just heard. When you are crafting these three-dimensional, hypersensory sonic landscapes, how does your approach differ from a traditional stereo mix?

 

I love the opportunities Atmos offers to make music experiential and participatory for listeners. My mind is always peeling apart the different layers in a track, and this process is all the more engaging with the extra movement, height & space of a spatial mix. I come from a choral background, and this translates beautifully in Atmos – rich, complex harmony stacks with room to breathe.

For Atmos mixing, I believe you have to work in specialized, ultra-professional environments like TYX Studios in London. But you also have a dedicated home studio anchored by our Artist Rise sit-stand workstation. Tell us a bit about your setup - what kind of gear are you running on a daily basis?

 

There’s a very different energy working in a rented, shared space like TYX versus your own space at home. While both have their place, I really prefer to work super relaxed at home when possible! The Artist Rise 88 has completely changed my work output; I can work considerably longer and happier hours when I can stand for the better part of the day. Even my sitting hours are healthier when I can swap chairs of different heights easily; I love a kneeling chair. Longevity is the name of my game.

You recently hosted a panel talk discussing AI in the music studio at GearExpo UK 2026. As someone heavily integrated into cutting-edge audio tech, how do you envision artists and producers balancing the efficiency of modern AI tools while preserving the authentic human emotion that defines Music?

 

This is a really big question, and I think it’s hard to guess where we’re headed. But, right now, based on what I can see and understand currently…I think we’ll ultimately see a bit of a divide between producer/musicians and AI-using producers/techs. A distinction of sorts between A) people who are instrumentalists at their core and familiar with the long journey of cultivating skills, who do music for the humanity and connection that it offers; and B) people who are looking to deliver a polished end product, who maybe view music more mathematically instead of emotionally. I’ve spent 10,000 hours a few times over honing my vocal, instrumental, writing & production skills, as well as just generally listening, learning, building my mental library of music and shaping my sonic signature. Music, to me, is all about the humanity behind it. Creating music, especially when you’re in the flow with other musicians or have ideas pouring into your mind as though from outside you, is the closest we get to touching something divine and spiritual. I didn’t feel like I was looking for a shortcut; all of the twists and turns it takes to get to the final master are integral to shaping the track and ourselves as musicians & producers who will keep creating after this track. Also, I think learning new skills is a big part of how we keep our minds young & nimble and keep life dynamic & exciting as we age. So for now, to me, the best way to preserve authentic human emotion is to simply abstain from AI and let music keep being the deeply human experience it historically has been.

You recently shared a powerful post about your time at Abbey Road Studios, noting how different, gentler, and safer studio spaces feel when they are majority women creators. As a highly technical female producer in a historically male-dominated industry, what changes do you hope to see to encourage more women to take on high-level technical roles?

 

I think the extreme gender disparity will shift with exponential effect and reach a tipping point as time goes on: the more we’re able to see someone proving something possible, the easier it is to envision it for ourselves. As more women, non-binary, trans producers fill these roles in traditional, old-school studios, a new generation of producers will grow up seeing these spaces as more enticing and accessible than they maybe were in the past. I suppose it will happen via small, consistent changes. A high tide raises all ships. The more we invite each other in, the more we hold the door open for each other, the quicker this will happen. I strongly believe that every time you’re offered a plus one, you should bring someone who you know will benefit from the experience as well!

Your career spans an incredible mix of raw artistry and precise audio production. What is on the horizon for you, both as an independent artist and as a Dolby Atmos mixer?

 

I have an album and an EP I’m looking forward to releasing and playing live this year! I’m excited to experience these new tracks live; apropos AI, I suppose I never worry too much about it stealing my job because no one is going to an AI artist’s concert right now. Support humans, go see live music!

 

I’m eager to start putting on more spatial live shows soon :)