Live Performances & Broadcasts


December 4: accordion, London Improvisers Orchestra, Cafe Oto, Dalston. 8pm.


November 6: accordion, London Improvisers Orchestra, St. Mary’s Old Church, Stoke Newington. 8pm. AUDIO

November 6: BROADCAST, Resonance FM. Piano and voice in Musarc and Jack Sheen Present: Croon Harvest. New and recent projects by Olivia Block, Andrew Hamilton, Cassandra Miller & Jack Sheen.

October 2: chorister, Musarc, First Terrace Records presents Peter Broderick’s tribute to The Beacon Sound Choir, Southbank Centre (Purcell Room)

September 3: Piano/keyboards, Unoriginal music, LANDED (words: Zoe Bouras), Cockpit Theatre.

August 7: accordion, London Improvisers Orchestra, St. Mary’s Church, Stoke Newington. 8pm.

July 3: accordion, London Improvisers Orchestra, St. Mary’s Church, Stoke Newington. 8pm.

June 19: congregation, Musarc, LCMF 2022: Hysterical & Happy, Woolwich Works

May 27-29: contributing writer & performer, Musarc: The End of the World Service, Taranto, ITALY. Part of Post Disaster Rooftops’ season “EP 03: BODIES AS INFRASTRUCTURES” (May-June 2022)

March 15 – April 30: rehearsal pianist, ensemble pianist & chorus member, Musarc: CROON HARVEST, Recording session for ResonanceFM.


Did not die.


Lockdown covers with Velodrome (Katherine Christie Evans):
Pretty Woman


December 11: performer, Musarc/An Assembly, LCMF 2019: On Rites & Reenchantment, @Ambika P3

December 7: chorus, Musarc Winter Konsert: The Orrery, LCMF 2019, @Ambika P3

October 25: Facilitator, community song creation, V&A Lates x Common Unity, @White Post, Hackney Wick, curated by Kandice Holmes

July 27: chorus, MUSARC, BBC Proms at … Battersea Arts Centre, works by Neil Luck

Musarc midsummer concert

June 2: accordion in London Improvisers Orchestra, St. Mary’s Church, Stoke Newington

Milton Court Studio Theatre, Guildhall School of Music and Drama

University of York, Rymer Auditorium

HAMHANDED, performance with lecture, video montage, organ
with Steve Potter, Huw Hallam, Dom Cooper & Ilenia Cipollari. Direction by Ilenia Cipollari.
Royal Birmingham Conservatoire, The Lab


SHINE, So Long, Take My Father’s Fortune, Help, Take My Brother:
music subtracted from Arnold Schoenberg’s Drei Volksliedsätze (1948), rearranged and recomposed for choir with bonang pots, ukulele, cowbells, and signs with words (13 minutes)
MUSARC, Musarc Winter Konsert, London Contemporary Music Festival, Ambika P3

MUSARC post-rehearsal, November 2018

September 22: chorus, MUSARC, Lin Chi-Wei’s “Tape Music”, Goldsmiths Centre for Contemporary Art

September 8: chorus, MUSARC, BBC Radio 3 “Hear and Now” Special Edition composed by Neil Luck/ARCO/Squib box

July 5: piano and accordion for Billy Elliot, production by Orchard House School, at Polish Social and Cultural Association London

June-July: keyboards and backing vocals for Velodrome, gigs at The Victoria Dalston (July 4) & Mascara Bar Stoke Newington (June 14)

June 2: MUSARC at the London Festival of Architecture.

March 17: I am thinking of the famous bedrooms on the great farms in Brazil  (“Je songe à ces fameuses chambres dans les grandes fermes du Brésil”)
6 hours. Solo site-specific performance installation.
In the Old Library of The Charterhouse in London, site of monastic study in the 14th and 15th centuries, men follow strict time disciplines. One copies out texts onto a laptop: texts about other possible worlds that really exist within our world (heterotopias) by Michel Foucault, about aesthetic political strategy by Stevphen Shukaitis, and about current university-sector strike actions.
At the same time he marks a cyclical time structure at an initially glacial pace using 4 Indonesian bonang pot gongs (pelog 1, pelog 2 with mini tambourine on top, pelog 3 upside-down, & slendro 2), ukelele, electric hair trimmer, electric fan rigged up to hit against cardboard, and child’s accordion.
Richard Hames created and followed his own time discipline at the same time: his laptop barks out orders to carry out the activities Hames does on a daily basis. But the computer has been programmed with the data of what activities actually follow other activities in Hames’s real life and is following an algorithm to ensure that it always chooses the least likely activity to follow on from the previous activity.
at the ‘Unfinished’ Event curated by Nell Catchpole and Jan Hendrickse, part of Barbican OpenFest

February 4: accordion in London Improvisers Orchestra, iKlectik, London

January: The Principles of Collision, featuring ‘the smallest event as a colorful giant puppet’, video installation at Charles Ogilvie, Ordering the Cosmos, Stowe Gallery, Stowe UK

September 4: Conference paper: ‘“Temporary Hegemonic Zones”: Conducting and Conduction in Experimental Music’. Finding Democracy in Music, University of Huddersfield.

August 6: accordion in London Improvisers Orchestra, iKlectik, London

July 23: Summertime Gamelan Showcase, Southbank Centre, London
July 13: Gamelan at the Opening of the New Indonesian Embassy, London

April 2: accordion in London Improvisers Orchestra, iKlectik, London

December 11: Gamelan Winter Chimes, Southbank Centre, London

November 26: keyboard performance of graphic score from ‘Tremors: The Musical’ by Stuart Wood. With Stuart Wood, voice. And leading group rendition, with voices, guitars and ukelele, of Phil Ochs “The War is Over”. High Fidelity Festival 2: Shipwreck, Washed up, Chisenhale Dance Space, London

July 11-13: Experimental reading-and-performing-through Deleuze & Guattari’s chapter, “The Smooth and the Striated” from Thousand Plateaus. smooth & striated: form, hARTslane gallery, New Cross Gate, London

July 8: sound design and musician, Peter Lachmann’s “Gliwice Hamlet”, translated from the Polish by Aneta Mancewicz and Bryce Lease

July 1: sound design and musician, Marie NDiaye’s “The Snakes”, translated from the French by Kélina Gotman

June 24: sound design and musician, Denise Despeyroux’s “Black Tenderness”, translated from the Spanish by Simon Breden

May 1: “Well I want it in writing, the smallest event and the secretest agency,” a music theory fiction show. Cornell University (Ithaca, NY), A.D. White House, Guerlac Room.

February 12: performance with Ollie Evans. Non-Threat Theatre Event. Ollie Evans, The ABCs of Theatre. Tottenham Chances.

Franz von Stuck_Dissonanz (1910)_hi res
January 23-24:



Distractfold Ensemble
January 30: International Anthony Burgess Foundation, Manchester
‘a name without a place…’ for clarinet, viola & piano, performed by Rocío Bolaños, Emma Richards, & Kate Ledger


December 14: Hackney Attic, London.
Filmphonics presents: The i=u Christmas Special.


Live scoring to four short films.
Phil Granell – violin
Will Roberts – mixed percussion
Matt Redman – guitars
George Sleightholme – clarinets
Fred Thomas – MD/Double Bass
Steve Potter – Accordion

October 30: selections from Whiggly Kinderproducts (Steve Potter, accordion and puppets; Eugene Feygelson, violin) at Pop-up Queer Arty-Farty Night (curated by Kate Evans, hosted by Sarah Jane Moon), 5th Base Gallery, London


September 13: Whiggly Kinderproducts (Steve Potter, Federico Reuben, Justin Christensen, Eugene Feygelson)
@Yinka Shonibare’s Guest Projects, London

July 14, ‘PLAY’ for 19 musicians & conductor
London Sinfonietta Academy Ensemble
LSO St Luke’s, London


May 16, ‘One-hundred Combat Troupes’ (draft), written in collaboration with Kélina Gotman, experimental music theater for 4 actor-dancers, 1 singer, and 6 musicians
Adam De La Cour, Kirstin Smith, Jüri Nael, Cara Curran, James Scott, and the London Sinfonietta
Village Underground, London


September 22,  ‘that guy was such an asshole…’ for voice and piano
Julia Mintzer, voice, and Jean Beers, piano
King’s College London, England

September 15,  that for 15 players
Internationale Ensemble Modern Akademie, conducted by Franck Ollu
SoWi, Innsbruck, Austria

August 18,  old people in the wrong house (dancing with robots) for 15 players
Nouvel Ensemble Moderne, conducted by Lorraine Vaillancourt
Salle Françoys-Bernier, St.-Irénée, Québec