“I don’t know what your dad thinks you can achieve, but you won’t even survive one month here. You’ll fail.“
This was how Keziah Thomas was welcomed on her very first day at an audio engineering classroom. At just 15, she was the youngest student in the class and the only girl. Before she had even begun, she was told she wouldn’t last a month.
But she did.
That was long before she became a two-time Cannes award winner, before being honoured to graduate as the Valedictorian of Berklee College of Music’s Class of 2026, and before composing music for films that travelled the world. The young composer, pianist, vocalist, music producer and DJ is building a career around telling stories through music.
We have her sharing the story, ivide.
The Cannes: Validation Beyond the Awards
These awards represent validation and encouragement. As someone who’s still at the beginning of my career, it’s incredibly reassuring to know that the work I’ve poured so much into has connected with people. It reminds me that I’m on the right path, while also motivating me to keep learning, growing, and pushing myself creatively.
The Moment Music Became the Plan
I discovered my love for music at a very young age. I started composing simple melodies of my own when I was seven. At the time, I wasn’t thinking about a career, I was just exploring and having fun.
The defining moment came when I was around 14. I had watched a video of Charlie Puth breaking down his song and that’s when it hit me. That’s when I realised I didn’t just enjoy music; I wanted to dedicate my life to it. I knew I wanted to pursue it professionally.
Proving Them Wrong
I’ve faced a lot of challenges throughout my journey, but one of the biggest was simply getting people to believe that I could do it. Looking back, I’ve often been underestimated.
When I was 15, I decided I wanted to pursue a diploma in Audio Engineering. My father and I visited several colleges in Bangalore, but almost all of them told us the same thing – that I was too young, that it wasn’t possible for someone my age to complete the course successfully. Eventually, we found Audiolife School of Sound Engineering. They had similar concerns but agreed to let me join because my father believed in me and was willing to pay the fee and take that chance.
I’ll never forget my very first day. One of the faculty members came into my class and, in front of everyone, said, “I don’t know what your dad thinks you can achieve, but you won’t even survive one month here. You’ll fail.” It was difficult to hear that in front of everyone, especially being the only girl in that class and being the youngest as well, but instead of discouraging me, it motivated me to prove him wrong.
I consistently scored the highest marks throughout the course. Ironically, the same faculty member who had doubted me became one of my biggest supporters and would often encourage other students to learn from my work.
That experience taught me not to let other people’s opinions define what I was capable of.
Similar things happened later when I applied to Berklee College of Music. Many people told me I wouldn’t get in and even questioned my parents for supporting what they thought was an unrealistic dream. After I was accepted, I had to defer my start date because of visa delays, and some people assumed I had never been admitted in the first place. I remember hearing comments like, “By the time my daughter finishes her master’s, Keziah will still be saying she’s applying to Berklee.” Those moments were hurtful, especially coming from people that were close to me, but they also strengthened my determination.
Of course, there have been many other challenges along the way, but if there’s one thing I’ve learned, it’s that you can’t let other people’s limits become your own. I’ve been incredibly fortunate to have parents who believed in me even when others didn’t, and their support gave me the confidence to keep going. Looking back now, those moments of doubt have become some of my greatest sources of motivation.
Learning From the Best
I’ve been very fortunate to have had incredible mentors at every stage of my journey. My piano teacher, Khrienu, laid a strong musical foundation and taught me so much, not just technically but also about composing. My vocal teacher, Asen, built all my technical and foundational vocal skills.
I learned a great deal at Audiolife School of Sound Engineering from all of the faculty there, and I was especially inspired by Sagar Gururaj. I later completed a certificate course in background scoring with him, which further deepened my understanding of film music.
My DJ instructors at Beatworx, particularly Sagar also known as seventhseamusic introduced me to a completely different side of music.
At Berklee, I’ve been surrounded by exceptional professors who have had a huge impact on my growth as a composer. Professors Martin Guas, Tim Huling, Alison Plante, Ruth Mendelson, Lenny Williams and more have all been wonderful mentors, each offering unique perspectives that have shaped both my technical skills and creative voice.
Outside the classroom, Leah Dennis and Elisa Rice, the founders of Berklee’s Women’s Film Initiative have been outstanding mentors, not just musically, but as leaders and advocates for building a supportive creative community.
Looking back, I truly believe that every one of these mentors has contributed to the composer and person I’ve become, and I’m incredibly grateful for their guidance.
Composing Emotion
One of the biggest creative challenges in Milo was a particular scene that required the music to transition from something very hopeful and ethereal into something much darker. The emotional shift happens quite naturally in the film, so the music had to follow that journey without the audience ever feeling like there was a sudden change.
Finding that balance took a lot of experimentation. The transition had to be seamless, it couldn’t feel like one piece of music ending and another beginning. Instead, I wanted the hopeful atmosphere to slowly unravel into something more unsettling, almost without the audience noticing it happening.
I think those kinds of moments are some of the most challenging as a film composer because the music isn’t just supporting the scene; it’s helping guide the audience emotionally. When the transition feels effortless, that’s usually the result of a lot of careful thought and refinement behind the scenes.
Scoring Stories Across Genres
I’ve been fortunate to work on a variety of projects over the past few years, and each one has taught me something different. Some of the films I’ve scored include the documentary South East Asian American Journey, directed by Quyen Nguyen Le, the psychological drama Dissociater, directed by Colin Turcotte, RoboEugenic, directed by Moises E. Tobias, Bhen Meri, directed by Akshay Gouri, and the animated short Milo, directed by Dillon Sharp.
What I enjoy most is that every project is completely different. Each film has its own story, emotions, and musical language, so no two scores are ever the same. Working across documentaries, live-action films, and animation has challenged me to be versatile and constantly adapt my approach as a composer.
Beyond Borders Through Music
I think they are evolving in a really exciting way. There are so many incredibly talented composers and musicians in India today who are constantly pushing creative boundaries. What excites me most is that we’re no longer limited by geography. With technology and global collaboration, composers can work on projects from anywhere in the world.
I also think audiences are becoming much more open to hearing different musical influences, so there’s more room than ever for composers to develop their own unique voice instead of fitting into a particular style.
Ultimately, I hope we continue to see more Indian composers represented on the global stage, not just because they’re Indian, but because they’re creating exceptional work. Sometimes we assume that because we’re from India, our work has to fit into a certain mould or that international audiences are looking for something specific from us.
In my experience, that’s not the case. Great storytelling and honest artistry are universal. If your work is authentic and executed well, it can connect with audiences anywhere in the world. Good work has a way of crossing borders.
And I think we’re moving in that direction, and it’s exciting to be part of a generation that’s contributing to that change.
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