Jokes are got; music is felt. As a composer, guitarist, and educator, I explore what happens when music becomes a social experiment. My practice centres on disrupting live music, often bridging alternative comedy and contemporary music. My works try to make people talk to each other, fostering a sense of community in live settings, by deliberately confusing and amusing them simultaneously. Rather than treating performance as a fixed score performed at an audience, I create scenarios where laughter, ambiguity, and shared complicity become compositional tools. Think musical pranks where audiences slowly become unwitting yet willing participants. I have composed and performed works ranging from pieces where rival conductors physically wrestle for control of an orchestra, or performers are locked in glass boxes, to performances that blur stand-up comedy with live music, or invading academic conferences with absurdist theatre. As well as my works in live performance, I compose for fixed media, such as radio and film, and this is a different kind of composition. In live settings, I'm in the driver's seat. In fixed media, I take the passenger seat: I hold the map and follow the director's directions while composing an emotional landscape. The skills I've honed in live practice of emotional and physical precision, audience manipulation, and the art of subversion, are in service of someone else's artistic vision; creating lasting, unique and impactful soundtracks tailored to the director I am working with.…Jokes are got; music is felt. As a composer, guitarist, and educator, I explore what happens when music becomes a social experiment. My practice centres on disrupting live music, often bridging alternative comedy and contemporary music. My works try to make people talk to each other, fostering a sense of community in live settings, by deliberately confusing and amusing them simultaneously. Rather than treating performance as a fixed score performed at an audience, I create scenarios where laughter, ambiguity, and shared complicity become compositional tools. Think musical pranks where audiences slowly become unwitting yet willing participants. I have composed and performed works ranging from pieces where rival conductors physically wrestle for control of an orchestra, or performers are locked in glass boxes, to performances that blur stand-up comedy with live music, or invading academic conferences with absurdist theatre. As well as my works in live performance, I compose for fixed media, such as radio and film, and this is a different kind of composition. In live settings, I'm in the driver's seat. In fixed media, I take the passenger seat: I hold the map and follow the director's directions while composing an emotional landscape. The skills I've honed in live practice of emotional and physical precision, audience manipulation, and the art of subversion, are in service of someone else's artistic vision; creating lasting, unique and impactful soundtracks tailored to the director I am working with.WWWW…