Finding real leadership is tough.

We put in the hard work.

Executive Search by Martin Tripp Associates

Expert Knowledge

50+ years’ experience in media, information, technology and entertainment

Obsessive About Delivery

An unparalleled success rate, from an unmatched methodology.

Global Reach

Based in London, we have worked on leadership roles across five continents.

Our Approach

A methodology that ensures success, with a six month guarantee

In a few weeks, we build networks that might take others ten years to complete. On every search,  we will talk to over 100 people to fully map the market and identify the best possible candidates. And then we filter that insight through expert face-to-face interviewing. We are so confident of our process that we offer a six month guarantee on every placement.

Candidate retention rate after four years
Our success rate in the last financial year
Number of assignments our researchers work on at a time


We always put our clients’ interests first, and work exclusively on each search. Once we are engaged on a role, we do not give up. We will only take on a client if we can share their passion. Our job is to keep on top of changes in the market so we can help our clients stay ahead of the curve.

We work across the media, information, technology, communications and entertainment industries. This means we can bring best practice from across sectors to your business.

Clients by sector

Entertainment & broadcast
Consumer media (digital, print, events, communications)
B2B communications (digital, print, events, training, agencies)
Data / information (including research and consultancy services)
Tech / e-commerce
Brands / corporates direct

Roles by discipline

C-suite / general management
Creative (editorial, design, event production, content leads)
Commercial / sales leadership
Product / strategy (product directors, strategy leads etc)
Technical (CTOs, CIOs, digital leaders)
Marketing / communications

Our history

Martin Tripp

Martin Tripp

Managing Director

After more than a decade as a manager, writer, and analyst in the UK and Africa, Martin became a headhunter in 1996, and established Martin Tripp Associates in 2008. As well as recruiting across all disciplines in the media sector, Martin has worked with a wide range of non-media clients on senior e-commerce, digital, and communications positions.

+44 20 7692 0530 • +44 7961 100 389

Matt D’Cruz

Matt D’Cruz


A former news editor, Matt has spent much of his career talking to senior executives across all industries. A founder member of Martin Tripp Associates, he has recruited across a huge range of roles, from heads of strategy and product through to editors and audience development leads. Matt became a Partner in the firm in June 2016.

+44 20 7692 0530 • +44 7796 326 764

Latest from the Blog

Consensus before Censorship – why the Copyright Directive was rejected

An impossible code

Having only recently recovered from the GDPR frenzy which gripped the continent in May, some media companies will be feeling relieved that the European Parliament last week sent controversial copyright reforms back to the drawing board. The proposed legislation included Article 11, which would require online platforms – search engines, news aggregators, etc. – to pay publications if they link to them. Article 13 meanwhile would have made copyright enforcement the responsibility of online service providers, and asked them to use content recognition technology to censor material at the point of upload.

Over the past few years, we’ve witnessed an increasing inclination from the EU and its member states to privatise tasks which many believe should be undertaken by the police and courts of the respective state. As with the censorship of online hate speech, the ongoing debate has centred around just who ought to be arbiter of these laws – i.e. humans or machines. The trouble is that

Read More

Orderly Brexit required: egos need to be parked

For a moment, there was clarity. And then, it was gone.

A very serious contender

A few weeks ago, we noted that the challenge for business is not Brexit, but uncertainty. At that time, we called for business leaders to make their positions clear. In due course, the heads of Airbus, BMW, and many other businesses stepped up. To be fair, they were probably responding to the comments by the outgoing head of the CBI, which prompted our blog, rather than to us. But we like to dream.

Let’s be clear: the deal proposed by Theresa May last Friday would have been at best partially good for our clients rather than wholly brilliant. After all, services were excluded from the customs arrangement she had suggested, and our clients are largely in the services sector (digital media, entertainment, SaaS, training, etc). While they may have faced tariffs, depending on later individual trade agreements, this was sweetened by the beginnings of a framework for modified free movement of EU citizens to work, which is critical to their sectors. Meanwhile, the proposal on free movement of physical goods would have kept supply chains and food supplies moving. That is a good balance to strike. The May proposals were

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A demand for Drake: What is the value of a single song on Spotify?

If you’re not a fan of Drake… well, bad luck, because you can’t get away from him. In an overly-zealous attempt to promote his new album, Scorpion, Spotify chose to include Drake in every single one of its discover playlists over the launch period. This sparked a backlash from music fans, the likes of which haven’t been seen since iTunes snuck a copy of U2’s Songs of Innocence into its users libraries, with Spotify users demanding refunds for the sudden omnipresence of Drake in their lives.

As the BBC pointed out, Spotify’s promotion of Scorpion was undeniably over-egged, with songs from the Canadian-born musician appearing on playlists titled ‘Best of British’ and every genre known to man. As a result some subscribers to the paid-for Spotify Premium, which boasts a lack of ads as a feature, considered that they were being served advertisements for a single artist with the relentlessness of the T-1000.

While the controversy is perhaps overblown – unlike the Songs of Innocence debacle, which necessitated bespoke software to be developed to remove the album from users’ libraries – it actually reveals quite a lot about Spotify’s business model and, in turn, the business models of the artists whose oeuvre appears on the platform.

Read More