Music Production meets Performance
My musical journey has evolved through a mix of live shows and studio production, with each show and opportunity deepening my understanding of how sound can connect with audiences. Early on, I immersed myself in the world of dance music, performing at iconic festivals like WOMAD, Boomtown Fair, and the International Ska Festival at the O2 Academy Islington. These experiences taught me how to captivate and engage diverse audiences, sparking a passion for creating immersive live shows that resonate beyond the performance itself.
During this period, I led the JSSO Project, where I blended worked with some brilliant musician who played live brass while i played the electronic side of the show with verious bits of kit. This was a deep dive into how production could enhance live performance. The brass section added warmth and texture, while additive and subtractive digital effects, delay sends, and feedback loops created a dynamic, evolving sound. Using real-time manipulation and drawing inspiration from dub plate techniques, I was able to adapt the music with every performance, creating an exciting, ever-changing atmosphere that kept the audience engaged. Around this time, I also collaborated with local artist GRIZ-O, performing and operating beats for his shows as part of the Brownswood Future Bubblers program was a real honour. The experience taught me valuable lessons about rhythm, flow, and the power of genre-blending to create something fresh.
As my work progressed, I found myself drawn to more experimental approaches to sound, experimenting with contact microphone to explore the sound of objects rather than the air and different way to listen back to music including building speakers and being involved with a number of small sound systems for a series of late night events, we experimented with different speaker positioning and room shape to make the best parties we could with the limited equipment we had access to.
One pivotal experience was my exploration of the dB SoundScape system at The Good Shed in Stroud. This allowed me to experiment with spatial sound in a multi-speaker environment, helping me to understand ways to break the traditional ways of experiencing music. The system has the ability to manipulate sound in three-dimensional space, creating an immersive experience.
This shift towards more experimental music aligned with the beginnings of my long-term collaboration with Squidsoup, an art collective focused on immersive, site-specific sound and visual installations. Over the years, I’ve had the opportunity to bring my expertise in production and sound design to their projects, helping to bring their artistic concepts to life. As their ideas required creative audio problem-solving, I was able to use my experience to design sound environments that complemented and enhanced their visual elements. The collaboration often called for innovative solutions—whether it was creating immersive, spatialized sound using multi-speaker setups or crafting audio solutions for conceptual briefs. These challenges pushed me to think in new ways, finding ways to combine sound, space, and technology to produce unique sensory experiences for the audience.
I’m incredibly grateful for the people I’ve met and collaborated with along the way—whether in my hometown, through creative spaces like the Stroud Valleys Artspace, or more recently in Cornwall and collaborators at Squidsoup. Their support and creativity have been fundamental to my development as an artist.
Today, my music merges all of these experiences: live performance meets the precision of studio production. Whether I’m creating beats, crafting immersive sound environments, or exploring minimalism and spatial sound, my goal is to take the audience on a journey, leaving them with an experience that lingers long after the music stops.
