About

From a very young age, I was deeply fascinated by sound and highly sensitive to it. I remember not yet being able to reach the piano keys properly, but I would poke my fingers underneath to push and pull them, drawn by the captivating patterns and sounds they made.

Growing up in a single-parent household, piano lessons and practice were non-negotiable. This discipline allowed me to hone my skills and develop a true love for sound. It wasn’t until my early teens that I realised piano could be more than a hobby — it could be a profession. Thanks to the many concerts I was fortunate to attend, I saw firsthand the power and beauty of professional musicianship.

At 16, I made the decision to pursue music as a career. For me, playing piano was one of the few things that brought peace and joy amid challenging emotions and the isolation of adolescence, compounded by neurodivergence. Music became a vital outlet — a language through which I could explore and express profound feelings that I struggled to communicate any other way.

I was awarded scholarships to study at Trinity Laban Conservatoire of Music and Dance in London for both my undergraduate and postgraduate degrees, along with a local bursary. During my time there, I studied with many exceptional teachers, including Mikhail Kazakevich, Christine Croshaw, Penelope Roskell, Yonty Solomon, and Philip Fowke.

Although competitions have never fully aligned with my passion for connection and communication through music, I was honoured to receive awards in the Il Circolo Competition held at the Italian Embassy, as well as the Leonard Smith & Felicity Young Competition, adjudicated by cellist Natalie Clein. A highlight of this experience was ensemble coaching with the American ensemble Trio Del Sol during their visit to the UK

I began teaching piano at the age of 14, while still at school and performing in every music production I could. Even then, I knew that sharing music was something special. When I moved to London to study music, I continued to teach — and it became a constant source of joy, connection, and grounding during those years far from home in rural Northumberland. Witnessing a student’s growth and helping them discover the joy of music has always been one of the most rewarding parts of my work.

My interest in the psychology of learning led me to explore wider teaching methods — from classroom and group work to training as a music leader. I briefly enrolled on a PGCE but ultimately followed my heart back to performance, completing a Master’s degree and refining my approach to small group and one-to-one teaching, which remain my favourite formats.

Alongside this, I developed a keen interest in how the music industry functions beyond the stage — particularly in event production, branding, and marketing. During my studies, I took every opportunity to learn about these areas and put that knowledge into practice by founding my first piano festival as a degree project. That early festival lit a fire in me — and I’ve been creating musical events ever since.

Today, as Managing Director of a community interest company, I lead projects that present classical music in unconventional, grassroots ways. We champion underrepresented artists, support local talent, and remove barriers to musical opportunities — particularly for women composers and performers, who are still vastly underrepresented in the classical world. For me, it’s about creating space for musicians to focus on their art, while we take care of the rest.