From Studio Intern to Grammy Nominee: Steph Marziano’s Journey
- Daria Slikker
- 7 hours ago
- 5 min read
From making a PowerPoint to convince her parents to buy a drum kit to earning Grammy nominations and being named Writer-Producer of the Year at the Music Producers Guild Awards, Steph Marziano has carved out a path defined as much by instinct and connection as it is by technical skill. Originally from Philadelphia and now semi-based in East London, Marziano’s journey has taken her from studio intern to one of the most in-demand session-directing producers working today.
After moving to the UK to study Sound Technology in Liverpool, she worked her way through the studio system in London, learning firsthand how records are built from the ground up. That experience now feeds into a collaborative approach that places trust, empathy, and communication at the centre of the creative process. It’s a mindset that has seen her work with artists including Sir Chloe, Vundabar, Jasmine.4.t, and Hayley Williams, the latter earning her Grammy nominations for Best Alternative Music Performance and Best Alternative Music Album.
Today, Marziano splits her time between London, Los Angeles, Nashville, and New York, continuing to expand her work across genres while staying grounded in what she believes matters most: the human side of making music.
How did music first come into your life and what led you from wanting to play drums into working in studios?
I grew up in a big sports family, so music felt like my rebellion. A friend at school played drums and I thought it was the coolest thing ever, so I made my parents a PowerPoint presentation convincing them to let me learn. Somehow it worked, and from that point I was hooked.
As I got older, music became this escape and sense of community I hadn’t found elsewhere. I was an okay drummer, but a teacher told me there were all these other jobs in music. At that point, I thought your only options were teaching or playing in a wedding band.
He mentioned producing, and around fifteen I started researching it. The more I learned, the more I realised it combined everything I loved.
You moved from the US to Liverpool to study sound technology. What was that transition like and how did it shape your path into the industry?
I was interning at a studio in Philadelphia in high school when my boss told me about a university in England that would suit what I wanted to do. I knew nothing about England and literally remember applying and then searching it up on Wikipedia.
I auditioned, got in, and suddenly I was moving to Liverpool. It was a big leap, but also really exciting. I came from a very sports-focused school, so being surrounded by people who cared about music and art was incredibly validating. Getting to focus purely on sound technology felt like a dream.
After graduating, I moved to London and started from the ground up. My first week was just cleaning studios, 10am to 10pm, every day. It was tough, but I was so grateful to be in those rooms, watching how records are made and how producers work with artists. That experience was invaluable.
You’ve said producing is as much about connecting with the artist as it is technical skill. How do you build that trust in the studio?
The technical side is learnable. You can figure out how a compressor works or how to get a good drum sound. What’s harder is building trust with an artist so they feel comfortable enough to be vulnerable.
A lot of songs come from a deeply personal place, so you need that relationship for them to open up and do their best work. I think that comes from being empathetic, but also from years of observing other producers. You see what works and what doesn’t.
For me, it’s about not having the biggest ego in the room. I’m not trying to be the artist – I want to support and elevate their vision. At the end of the day, it’s their song, not mine.
You’ve worked with a wide range of artists across different genres. How do you adapt your approach depending on who you’re working with?
I try not to over-plan and instead trust my instincts. If an artist comes in with a clear vision, my job is to help bring that to life. Sometimes that means pushing a bit, but it really depends on the person and the genre.
Early on as an engineer, I didn’t get to choose who I worked with, instead it was whoever walked through the door. That was a huge learning curve. I went from listening mostly to indie to suddenly working with artists like The Prodigy, which really broadened my perspective.
Now I try to carry that openness forward. Genres are so fluid, and I like letting different influences inform each other.
You were nominated for two Grammys for your work on Hayley Williams’ records. What did that recognition mean to you at this stage in your career?
It was life-changing, but not necessarily in the way I expected. The recognition is great, but the moments around the music have meant more.
When Hayley played in Philadelphia, I brought my whole family. She pointed me out during a speech, and my parents got to experience that which was really emotional. She even brought them backstage, which meant so much to them.
The next night, I ended up joining her on stage for ‘Parachute.’ Hearing 3,000 people from my hometown singing something we wrote together was surreal.
More recently, I saw a family friend’s kid covering that song at their first gig. Moments like that mean more than any award. That’s why I do this – so someone else can feel inspired to start.
Looking ahead, you’ve been focusing more on songwriting and working across cities like LA and Nashville. Where do you see your work evolving next?
I’m constantly asking myself that. I split my time between London, Nashville, Philly, and LA, and I really enjoy working with artists wherever they are.
There’s something about leaving a place and then coming back to it that keeps things fresh. For now, I just want to keep doing what I’m doing and stay open to wherever it leads.
Lastly, what advice do you have for students wanting to get into producing and songwriting?
I saw a Subway Take video recently that stuck with me where they said ‘be an audience member and be a student.’ It’s easy to want to claim the title of producer early on, but there’s a long path to getting there.
Take your time, learn as much as you can, and enjoy the process. You don’t have to have it all figured out at eighteen. Just stay curious and keep building – it’ll come together.
