I am:

My mission is to understand and describe how people use popular music in the internet age.

Here’s a longer bio:

I’m currently on a MSCA Individual Fellowship (2020-22), which forms part of the Horizon 2020 scheme to nurture excellence by means of cross-border and cross-sector mobility. My research project, Digital Flows, investigates the dynamic cultural politics of hip-hop music and community on the internet. In 2021, I won the MusicID Digital Research Fellowship.

My research specialisms are experiences of listening and fandom, including recorded music (and music recording), music and the Internet, and music communities. I’ve produced work on a range of topics including Brockhampton, djent, Little Simz, metalcore breakdowns, Kendrick Lamar, and theories of listening and empowerment. My publications are listed on the Research page.

My passion for studying popular music emerged during the course of my undergraduate degree at the University of Surrey. I was awarded the Dean’s prize for the best overall performance in the Faculty of Arts and Human Sciences, and my undergraduate dissertation on metal music analysis won the Shoana M Mackay dissertation prize. I gained a distinction in my Master’s in Musicology at the University of Oxford. My PhD was funded by the AHRC consortium TECHNE and supervised by Prof. Emeritus Allan Moore and Prof. Isabella van Elferen. Prior to my current research fellowship, I spent two years developing an academic department as Head of Academic Studies at the popular music university BIMM Institute, Brighton.

Alongside my academic research, I am active as a drummer, producer, and composer. I have undertaken commissioned soundtrack work for the Richard Dawkins Foundation for Reason and Science and the British Institute of Posthuman Studies. I have composed a piece performed by trumpeter Byron Wallen and produced several independent releases as well as other artists’ work. More about this on the Music page.