I'm a musician and producer based in Belfast, Northern Ireland. Primarily a drummer and vocalist, I'm interested in the crossover between spoken and 'Sprechgesang' voice and its marriage with drumset – exploring rhythms of jazz, hardcore and hip hop alike. A graduate of the Sonic Arts Research Centre at Queen's University Belfast, my first-class honours degree is supplemented by awards such as the Harrison Prize (2012) for top academic achievement and the Hamilton Harty Travel Scholarship (2013).

In 2013, I formed Robocobra Quartet, a project which I lead and manage on a day-to-day basis. Carving out our own unique approach centred around voice, drumset, electric bass and two saxophones, the group have supported acts such as Get The Blessing and Melt Yourself Down and have performed at Latitude Festival (UK), SXSW (USA), Electric Picnic (IE) and Into The Great Wide Open (NL). 

Championed by Max Reinhardt (BBC Radio 3 Late Junction) and Tom Robinson (BBC Radio 6), we have toured extensively. So far 2018 has brought Robocobra Quartet across Germany, France, Netherlands, Luxembourg, Belgium, Switzerland, UK & Ireland playing festivals and clubs alike.

With the help of funding from PRS Foundation, Arts Council NI, Esmée Fairbairn Foundation and Generator NI, we have released two full length albums on 12” vinyl: Robocobra Quartet – Music For All Occasions (2016) and Robocobra Quartet – Plays Hard To Get (2018). These records have seen praise from The Quietus, Drowned In Sound, DIY Magazine and many more.

I frequently produce albums for artists, working primarily out of Start Together Studios in Belfast in addition to working on-location in concert halls. I also take on technical roles in technologically-mediated compositions such as Ian Wilson's 'Causeway' for Ulster Orchestra (2014) in which I designed a live electronic playback system to work alongside the 60 piece orchestra. As a technician often self-producing, my compositions are conscientious of not only the acoustic elements of writing but also how these can be best captured or morphed in the recorded medium.

Highly interested in collaboration, I've worked with a massive range of instrumentalists including writing for string quartet, piano and vocal ensemble when arranging for studio sessions. Beyond this, communicating with different breeds of musicians call for different approaches, such as pop players who learn by ear or jazz players who are used to charts. Being able to wear different hats and hop between styles of communication facilitates even further collaboration across genre lines.