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The GOAT AGENCY 2019-2025
From 2019 - 2025 I lead content in various roles at The Goat Agency. I joined when it was still scrappy, fast and feral in the best way. By the time I left, it had been acquired by WPP and was handling campaigns for some of the biggest brands on earth.
In the middle of all that was a daily vlog: a 400-episode unbroken run, a lot of late nights, and a production machine that felt like sitting on the front of a speeding train, laying the track as we went.
The Daily Goat: building a content engine from nothing
When I arrived at Goat, they were haemorrhaging editors and producers who couldn’t keep up with the promise of a true daily vlog. Filming was happening constantly, but getting an episode out every day was breaking people.
I took over The Daily Goat and gave it a process.
I rebuilt the workflow so we could film, cut and deliver an episode every weekday.
I directed, produced and edited the majority of those 400+ episodes.
I made sure that anyone who appeared on camera, from founders to first-dayers looked and sounded like the best version of themselves.
This was an influencer agency run largely by twenty-somethings, with cameras rolling eight hours a day. My job was to keep the charm and quietly finesse the madness: a bit of redacting here, a bit of narrative streamlining there, so we stayed honest without getting anyone sued…
The impact went way beyond “nice bit of content”:
It transformed lead gen and new business.
It built personal brands for the founders and for almost anyone who “starred” in the vlog.
It became a cultural backbone for the agency and a calling card that got us in rooms we had no business being in on paper.
We didn’t realise at the start quite how much that series would change the agency, but it did.
Pivoting into Head of Production
When the pandemic hit, the way we worked – cameras everywhere, office energy, constant travel – simply wasn’t possible at the same tenacious frequency. The vlog slowed, but the need for strong content didn’t.
I naturally pivoted into a more client-facing Head of Production role.
The remit:
Build a “traditional” production house offering inside a cutting-edge paid media agency.
Give Goat the ability to deliver hero films, branded content and social-first campaigns with proper production infrastructure behind them.
Keep the agility of an influencer shop while adding the reliability of a production company.
I oversaw end-to-end production across everything from performance UGC to big branded hero moments, making sure what we made lined up with what media were buying and what clients actually valued.
Turning data into stories: the PCA pipeline
One of the pain points I saw was how we showed performance back to clients. We had great campaigns and great numbers, but the story often got flattened into spreadsheets and dry decks.
I developed a PCA (post-campaign analysis) content pipeline that let the campaign team brief in standout results and learnings. We then turned those into short, watchable pieces:
Opening up “dry” data meetings with something human and digestible
Making it easier to re-sign clients by reminding them how far we’d actually moved the needle
Showcasing learnings in a more impactful, narrative way instead of burying them in slide 47
It became a simple way to break the ice, celebrate wins and make performance feel tangible.
Request For Proposals as a production brief
Instead of turning up with just another deck, we asked: how do we set ourselves apart before the pitch even starts?
We started creating bespoke pitch films that:
Showed how we’d been engaging with the brief
Demonstrated our creative thinking in a format clients actually enjoyed watching
Introduced the cast of “characters” – the actual team who would be working on the account
It became something pitching teams relied on to set the tone for both the meeting and the agency as a whole. Clients got to feel the culture and chemistry, not just read about it.