The composer and Ivors Classical Award winner reflects on their career highs and creative processes, and explores how support from new music charity Sound and Music helped bridge the gap between their studies and career
Could you give our readers a brief overview of your career so far?
I taught myself how to compose whilst I qualified as a lawyer – my undergraduate degree is in Law. I gained some experience working on indie short film projects and learned about electronics through remixing tracks and recording and producing songs for singer-songwriters.
I was fortunate to study at Trinity Laban Conservatoire of Music and Dance at master’s level, which gave me the foundation I needed to build a composition career. Then in 2021 I was awarded the Liverpool Philharmonic’s Rushworth Composition Prize and was commissioned to write a large-scale work for the Liverpool Philharmonic’s contemporary music group, Ensemble 10:10.
I’ve worked with some incredible musicians, which is such a gift. Stand out opportunities include developing 3 Planets for orchestra and sampler during the Philharmonia Orchestra’s Composer Academy, hearing my first choral piece Awake performed by the Marian Consort and writing Hope is an Act of Protest for Chineke!, which was performed in Southbank Centre’s Queen Elizabeth Hall last year.
The opportunities which have led to the most growth are those where I’ve had a bit more time and space to experiment and achieve clarity. Towards the end of my residency with nonclassical (2023-2025) I had the chance to write for – and workshop with – Sinfonia Smith Square, composing finding gills [when they try to drown you] for orchestra and electronics which won Best Large Ensemble Composition at The Ivors Classical Awards 2025.
How would you describe your approach and sound as a composer?
My approach generally focuses on building cohesive sonic worlds. This tends to grow out of featuring a particular technique or process, or because I am writing closely to an emotional narrative. Using broad overarching methods gives me flexibility to create organically and provides space for the work to evolve. Groove often plays an important part, and I enjoy playing with the energy that bounces between players and the synergy that occurs when instruments interlock in rhythm.
“You don’t need to be shy about being new to something and there’s no need to be apologetic about it”
I compose for both acoustic instruments and electronics, and I have found that approaching these mediums in similar ways helps me to build close relationships between them. When I write electro-acoustic work, there is no hierarchy. In works like Saplings [developed during my time on Sound and Music’s New Voices scheme] and finding gills electronics that are integrated and integral to the work, using them to enhance the live material. I often create electronic sounds through manipulation and glitching recorded material and I really enjoy the process of sitting in that sense of possibility and considering the transformative potential sound.
Can you talk about how Sound and Music came to support your career and what you have been able to do with the organisation’s support?
Joining Sound and Music’s New Voices scheme in 2022 came at such a crucial time. I felt like there was some unfinished exploration during my master’s and so New Voices provided the chance to go deeper into my electro-acoustic practice. Sound and Music introduced me to Tony Nwachukwu who became an important technical mentor for me.
The overarching project mentoring from Sound and Music was vital and really helped me navigate the initial stage after Trinity Laban with direction and focus. I worked closely with Fiona Allison whose guidance helped me explore the practicalities of producing my project. Our sessions provided a sounding board for my creative intentions and gave me space to build supplementary skills such as budgeting and grant writing.
“I really enjoy the process of sitting in that sense of possibility and considering the transformative potential sound”
This development period resulted in an EP of works for mixed ensemble and electronics called Saplings which I released in 2025. The work was fully funded, covering the two recording sessions, the performers and videographer, and through creating these tracks, I gained a deeper understanding of my own process, creative focus and the relationship I’d built between the electronics and live players. Saplings definitely laid the foundations for my residency with nonclassical.
What advice would you give your younger self at the beginning of your career?
You will never feel ready for the opportunities that are presented to you, but do them anyway and you’ll grow into them. I also think it is so important to stay curious, keep trying things. I really don’t believe in failure. You can learn something from every experience.
You don’t need to be shy about being new to something and there’s no need to be apologetic about it. Sometimes being a bit less experienced can help you make unconventional choices that take you to more novel places. I believe that the most interesting artists are those who continuously evolve and who aren’t afraid to go on a new adventure even if it is messy, less certain and different from their previous work.
“Sometimes there can be a massive gap between me noting something down and actually checking it out, but it always seems to come to me at the right time”
Where do you go for creative inspiration, insight and support?
Checking out other people’s art can help spark ideas generally, but I believe it’s important to have space between what you are writing and the work of others during the embryonic stages. For me this helps prevent unhelpful comparison and makes it easier for me to follow my own intuition. I remember during one of the New Voices participant group discussion sessions we talked about the value of intuition being a source of wisdom informed by the actual knowledge you have, and I do believe that. For me, I try to follow what my interest is drawn towards such as a particular sound or idea that I keep returning to.
I find inspiration from sitting with and tuning into different emotions and working out what story I am trying to tell. I also find it helpful to think about the music I’m writing in terms of colours and shades. I keep notebooks to jot down ideas in when they feel important and record quotes and resources to come back to. Sometimes there can be a massive gap between me noting something down and actually checking it out, but it always seems to come to me at the right time.
“I ground myself in the knowledge that having the time, safety and space to create is an absolute privilege”
I’m lucky to have built a support network of people who are happy to listen to work in the draft and more chaotic stage. I’ve found that getting feedback from people whose ears I trust can really help me refine my work so that it’s as polished and intentional as possible.
How do you look after your wellbeing when working with tight deadlines?
I think wellbeing can be really tough in this capitalist society where we are all stretched far too thinly and rest is hard to prioritise. Part of my wellbeing is actually reminding myself that the structures we live by make it difficult to achieve this balance.
From a practical perspective, I have to remember myself to go back to basics of what any human needs, making sure I am getting outside at least once a day and also doing exercise.
“I wish there was a greater culture of repeat performances of new music”
I find it crucial to ultimately ground myself in the knowledge that having the time, safety and space to create is an absolute privilege. Practicing gratitude helps guide me when I’m tired and squeezed for time.
What is something you wish the classical sector understood about the work of composers and their creative process?
Good music (and human-made music) takes time. There is such a rush to create, but I think the opposite approach is required to make the most exciting new work.
I think it would be great for more opportunities for composers to work closely with ensembles and orchestras in residency for a prolonged period of time. This allows for the composer to properly realise their ideas and establish an understood shared language with performers.
I also wish there was a greater culture of repeat performances of new music. The focus is often on the premiere, after which a piece can disappear. This results in composers investing a lot of time into making work that gets relatively little performance time. The professional recording of premieres does somewhat help, but it would be wonderful if there was greater appetite to programme and allow for the redevelopment of existing work.
Images (from top): ©Holly McCleneghan/Nonclassical; ©Rebekah Merriman; ©Dimitri Djuric/Nonclassical;©Dimitri Djuric/Nonclassical