Thomas Marra is a multi-talented music producer, songwriter, and entrepreneur whose journey from the sports fields of Levittown, New York, to the recording studios of Nashville and beyond is a testament to following one’s passion.
Raised in a close-knit family, with a retired accountant father and a mother who managed an OBGYN practice, Marra grew up excelling in athletics, playing baseball and football at the collegiate level. Though scouted by Division I programs, he chose to pursue his true calling—music.
A Magna Cum Laude graduate from John Jay College of Criminal Justice, Thomas Marra pivoted into a creative career that now sees him producing and writing for country artists while also licensing his original music for television and film, including hit Netflix shows like Love is Blind. His work bridges the heartfelt authenticity of country storytelling with a polished, cinematic sound. Outside the studio, Thomas is a committed philanthropist, donating yearly to Big Brothers Big Sisters and having spent years volunteering to teach kids in high-crime areas about community policing and education. His blend of creative prowess, discipline, and compassion makes him a force to watch in the music world.
What drew you to music despite being scouted by Division 1 baseball teams?
While I loved sports, especially baseball and football, there was always something deeper pulling me toward music. I remember sitting in my room after practice, headphones on, analyzing lyrics and production. The field gave me structure, but music gave me purpose. Being scouted was flattering, but I couldn’t imagine committing years to a path that wasn’t truly mine. Music wasn’t just a hobby—it was how I processed the world.
How did your upbringing in Levittown shape who you are today?
Levittown gave me grit. It’s a hardworking, no-frills town where family, community, and tradition matter. Watching my dad work tirelessly as an accountant for big-name clients and my mom manage a busy medical office taught me resilience and professionalism. Sports instilled discipline, but Levittown taught me to stay grounded, appreciate where I come from, and never forget my roots—especially in an industry like music.
Tell us about the transition from criminal justice studies to the music industry.
It was definitely unconventional. At John Jay, I was immersed in the world of law enforcement and justice, which sharpened my analytical thinking. But even during college, music was my outlet. Once I graduated, I realized I didn’t want to chase a stable paycheck—I wanted to chase something that moved me emotionally. The transition wasn’t easy, but every skill I picked up, even from criminal justice, feeds into how I manage my business and relationships in music.
How would you describe your sound or musical identity?
My sound lives at the crossroads of cinematic storytelling and southern authenticity. I love building emotional arcs with layered production, especially in country music where lyrics matter so much. There’s always a heartbeat—something real—whether I’m producing for another artist or writing my own material. Think Jason Isbell meets Kacey Musgraves with a touch of film score polish.
What’s your creative process like when writing or producing?
It always starts with a feeling. I’m a melody-first guy, so I’ll hum ideas into my phone at random times. Once something sticks, I build chords, then bring in the lyrical story. When producing, I sit with the artist to understand their emotional anchor—what are we really trying to say? Then I craft the production to match that heartbeat. It’s both art and architecture.
You’ve licensed music for Netflix shows like Love is Blind. How did that come about?
I started pitching some of my personal songs to licensing agencies a few years back. One of my tracks—a raw, emotional acoustic ballad—was picked up and later featured in Love is Blind. That exposure opened a few doors. It’s validating to know something I wrote alone can impact someone on-screen across the world. I’ve since licensed more pieces and love how sync work lets me tell stories beyond traditional radio.
What’s the most rewarding part of running your own business in the music industry?
Creative control and impact. I get to decide the projects I take on, the people I collaborate with, and the direction of my own sound. It’s not just about producing hits—it’s about shaping careers and connecting with people. I also love mentoring newer artists who remind me of myself when I was just starting out, full of fire and uncertainty.
How has your volunteer work influenced your perspective as a creator?
Tremendously. Teaching kids in high-crime areas about education and community policing grounded me. It showed me the power of storytelling, even outside music. These kids had raw stories, resilience, and pain that deserved to be heard. It made me more intentional in my lyrics—more human. And donating to Big Brothers Big Sisters each year is a way to give back consistently and stay rooted in service.
What challenges have you faced as a music entrepreneur, and how have you overcome them?
The biggest challenge is balancing creativity with business. You can have a powerful song, but if you don’t know how to pitch, market, or monetize it, it might go unheard. I’ve had projects fall through, deals sour—but each was a lesson. I’ve learned to treat setbacks as redirection, not failure. Surrounding myself with trustworthy collaborators has been key.
What’s next for you—any new projects or goals you’re excited about?
Definitely! I’m expanding my production company to develop a roster of up-and-coming country artists. I’m also working on a solo EP that blends country with cinematic pop—something deeply personal. And there’s a documentary in early talks that will use some of my original compositions. More than anything, I want to keep growing, evolving, and staying true to the craft. The music deserves that.
Read more:
An Interview with Virgin Islands Music Producer Thomas Marra: From Field to Frequency
