Blog
15th June 2026
Concrete Voices: More Than a Listening Experience
When I first began developing Concrete Voices, I wanted to create something that people would experience rather than simply hear. The goal was never just to play tracks through speakers—it was to build an installation that encouraged people to stop, interact and think.
Seeing that become a reality was one of the highlights of my time at Blackpool School of Arts.
Throughout the exhibition, visitors of all ages sat down to experiment with the interactive setup, triggering spoken-word performances and exploring the project for themselves. Some stayed for a minute, while others spent much longer asking questions about the music, the production process and the ideas behind it. Those conversations were just as important as the installation itself.
The response was honestly overwhelming at times.
One of the biggest surprises was the demand for the physical cassette release. The original numbered edition quickly generated far more interest than I had anticipated, leading to the decision to produce an additional twenty copies as the Gold Seal Edition. In an era where almost everything exists as a stream or download, seeing people genuinely excited to own a physical release was incredibly encouraging.
The exhibition also became an opportunity to introduce people to Zer0Sum Recordings. Hundreds of conversations took place over the course of the event, with visitors taking away business cards, flyers and stickers while learning about the recording, mixing and production services available through the studio. For a business built on independent creativity, those interactions are invaluable.
Perhaps the most rewarding part of the day was seeing complete strangers connect with independent music and art. The installation was designed to encourage participation rather than passive listening, and watching people experiment with the controller, discuss the themes and share their own interpretations confirmed that the project had achieved what it set out to do.
Independent and underground music survives because people choose to support it. Every conversation, every share, every purchase and every recommendation helps artists continue creating work outside the mainstream.
To everyone who visited the installation, interacted with the project, asked questions, bought a cassette or simply stopped to have a conversation—thank you. Your support has exceeded every expectation and has provided even more motivation for what comes next.
This is only the beginning.
NOISE. VOICE. RESISTANCE.
20th May 2026
Concrete Voices: cassette release and installation launch.
Concrete Voices: cassette release and installation launch
Concrete Voices is a new project from Zer0Sum that brings together music, spoken word, and installation design into a single release. Built around themes of protest, testimony, and lived experience, the project explores issues including racism, police brutality, domestic abuse, sexual assault, poverty, and political fear through a body of work rooted in Hip Hop, Grime, Electronic music, and Spoken-Word/Poetry culture.
At the centre of the project is a five-track release designed to do more than simply exist as a collection of songs. Concrete Voices was created to feel purposeful, immersive, and direct. The aim was to make the subject matter impossible to ignore, while still presenting it through a format that feels artistically strong and culturally grounded. Rather than separating message from sound, the project was built on the idea that production, voice, texture, and format should all work together to carry meaning.
A major part of that thinking sits behind the decision to release Concrete Voices on cassette. This was not done for nostalgia alone. The cassette format suits the project because it gives the release a physical presence and a sense of weight that matches its themes. It turns the work into an object people can own, keep, and return to, rather than something that disappears instantly into the pace of digital listening. It also connects the project to the DIY spirit and underground history of Hip Hop and Grime, where physical formats, limited runs, and direct audience connection have always mattered.
The cassette edition has been designed as a limited release, with only 20 copies available. It also includes an exclusive track not available on streaming, giving the physical version its own distinct identity. That was an important part of the release strategy from the start. The goal was to make the cassette feel like a meaningful edition of the project in its own right, rather than just an earlier version of the same release.
Alongside the cassette, Concrete Voices also exists as an interactive installation. The project will be launched publicly as part of the B&FC End of Year Show on 13 June from 12 noon at B&FC College, Park Road, Blackpool. The showcase centres around a custom-built booth installation that allows audiences to step directly into the world of the release. Inside the booth, visitors can engage with the project through sound, spoken-word fragments, CRT visuals, and triggered interactive elements, creating an experience that is far more immediate than standard playback alone.
That installation element is central to what Concrete Voices is trying to do. The project is not only about hearing the material, but about being placed inside it. The booth format, visual design, and audience interaction all work to bring the themes closer and make the experience more physical, more personal, and more confrontational. It is designed to blur the line between release, exhibition, and audience participation.
For Zerosum Recordings, Concrete Voices also represents the wider direction of the work being developed under the studio and Zer0Sum identities. It reflects an interest in projects that combine strong sonic identity with visual thinking, cultural context, and public-facing presentation. It is both a release and a statement of intent.
Concrete Voices launches on cassette and as an interactive installation on 13 June. The streaming version will follow later, but the project's first experience belongs to the physical release and the booth itself.
A copy of the limited edition cassette is available for pre-order now, in the store.
23rd April 2026
Running Live Sound at Backstage Cleveleys for the First Time
Last night, I worked my first open mic night at Backstage Cleveleys, running live sound for the venue. It was an important experience for me because it was the first time I had taken on that role there, and it gave me the chance to apply my live sound knowledge in a real venue environment.
As with any first night in a new setting, there were a few challenges along the way. Getting used to the room, the setup, and how everything needed to run in practice meant there was a lot to stay aware of throughout the evening. Live sound always requires quick decision-making, and that becomes even more important when you are working in a venue for the first time and learning how the system responds in real time.
Despite those challenges, the night went well overall. I was able to work through the issues as they came up, stay focused, and keep things moving. That was probably the most valuable part of the experience. In live sound, things do not always go perfectly from the start, but being able to respond calmly and solve problems as they happen is a big part of the job.
Open mic nights are also interesting from a sound perspective because the setup can change constantly. Different performers bring different voices, instruments, levels, and performance styles, so the engineer has to stay flexible and keep adjusting throughout the night. That made it a good environment for building confidence and getting more comfortable working under pressure.
For me, the night was a reminder that practical experience is one of the best ways to develop. Every event teaches you something, and this one helped me become more familiar with the demands of running live sound in a venue context. It also showed me that even when challenges come up, they can usually be worked through with a clear head and a willingness to adapt.
21st April 2026
Attending Production Futures On Tour Manchester AO Arena
Recently, I attended Production Futures On Tour Manchester at the AO Arena. The event was presented as a careers-focused day for people interested in live events, music, touring, theatre, TV, broadcast, and film, with a programme built around talks, panels, workshops, networking, careers advice, and opportunities to engage with industry technology and employers. It took place at the AO Arena in Manchester and ran from 10 am until 4 pm.
One of the most useful aspects of the day was the chance to hear directly from people already working across the wider production industry. Production Futures describes the event as bringing together manufacturers, supply and production companies, venues, distributors, education partners, and industry organisations, all aimed at connecting visitors with training and employment opportunities. That made it a valuable environment for developing a clearer picture of the many different roles and pathways across live production and related sectors.
For me, the event was particularly relevant because my work at Zerosum Recordings spans music production, recording, sound design, and live audio. Attending an event like this was a good reminder that the creative industries do not operate in isolated boxes. Studio practice, live sound, broadcast, event production, and technical support often overlap, and understanding these broader connections is useful for long-term industry development.
Another strong part of the day was the networking. Production Futures positioned the event as a place to learn, train, network, and develop a career in production, and that came through clearly in the atmosphere. It was useful to be in a room full of people who were actively interested in similar areas, whether that was live sound, touring, stage production, broadcast, or technical roles behind the scenes. Conversations like that are often just as valuable as the formal talks because they help turn a general interest into a clearer sense of direction.
Events like this are also useful because they make the industry feel more visible and more accessible. It is one thing to read about career routes online, but much more helpful to speak with people directly, ask questions, and see how different parts of the sector connect in practice. That kind of contact can make future opportunities feel more realistic and more immediate.
Overall, attending Production Futures On Tour Manchester was a worthwhile experience. It provided useful industry insight, good networking opportunities, and a broader view of where skills in audio, production, and technical work can lead. For anyone interested in live events, music production, broadcasting, or the broader technical side of the creative industries, it was a strong example of how valuable such industry-facing events can be.
3rd April 2026
Reflecting on My Experience Presenting at BCUR
On Thursday, 2nd April, I had the opportunity to present at the British Conference of Undergraduate Research. It was a valuable experience, both academically and personally, and it gave me the chance to share my work with students and researchers from a wide range of disciplines and institutions.
My presentation was titled Concrete Voices: Exploring Protest, Identity and Lived Experience in Grime and Hip-Hop. The project explores how music can communicate protest, identity, and social experience, not only through lyrics, but also through sound, delivery, production, and performance. The final outcome will take the form of a single-person immersive listening booth that combines original music, spoken-word poetry, reactive visuals, and synchronised lighting. Inside the booth, the audience member listens through headphones as instrumental versions of the project’s mixtape tracks play continuously, creating the installation's main soundscape. In front of them is a controller that lets them trigger chopped spoken-word phrases from recorded poetry, layering these vocal fragments over the music in real time. Each trigger also activates a visual response on the screen, built from edited protest footage, news material, archival civil rights imagery, and contemporary scenes of social unrest. The space is further shaped by synchronised lighting that responds to the music, creating a focused and immersive environment centred on protest, identity, and lived experience. Presenting the project in this setting allowed me to explain the research clearly and demonstrate how creative practice can operate alongside academic enquiry.
One of the most important aspects of the experience was delivering the presentation itself. Speaking in front of an audience and discussing the project's ideas felt like a significant step forward. It provided an opportunity to present work I had spent considerable time developing and to show how my interests in music production, spoken word, and research come together in a single project. It also encouraged me to think carefully about how to communicate the work to an audience that may not already be familiar with the genres, themes, or creative methods involved.
Another major part of BCUR was the opportunity to meet and network with like-minded people. One of the most rewarding aspects of the conference was being surrounded by students who were clearly committed to their research and creative practice. Although the projects on display came from very different disciplines, a shared sense of enthusiasm, curiosity, and professionalism made the event especially engaging.
Speaking with other presenters and attendees was equally valuable. It reinforced the idea that research does not happen in isolation. Hearing about other projects, methods, and perspectives helped place my own work within a broader academic and creative context. It was particularly interesting to see how people from very different subject areas often engaged with related ideas about identity, society, communication, and lived experience.
The experience also gave me greater confidence in my own project. Presenting the research to a wider audience made the work feel more established and reinforced the relevance of its ideas. It confirmed that the themes explored in Concrete Voices can connect with people beyond my own course and that there is real value in combining academic research with creative practice.
Overall, presenting at BCUR was an extremely positive experience. It gave me the opportunity to share my research, strengthen my confidence as a speaker, and connect with other students who are equally invested in their work. It felt like an important milestone in my final year and a strong reminder of the value of bringing research and creative practice together.
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27th March 2026
Presenting My Research at the British Conference of Undergraduate Research
As part of my final year studies, I have been developing a research project that explores the relationship between music, culture, and protest. The project examines how music can serve as a powerful form of social commentary, particularly in genres such as hip-hop and grime.
The research focuses on how artists use sound, rhythm, and spoken word to express political frustration, social identity, and resistance. Rather than looking at lyrics alone, the project also explores how musical structure, production style, and performance can communicate meaning and emotion. By combining academic research with music production and spoken-word recordings, the project aims to demonstrate how protest can manifest both in written form and in creative practice.
I have recently been given the opportunity to present this research at the British Conference of Undergraduate Research (BCUR). BCUR is a national academic conference that brings together undergraduate researchers from universities across the UK to present their work and share ideas.
My presentation will introduce the research question behind the project and explain how music production and spoken word performance are used as part of the research process. As a practice-based project, the work combines academic analysis with original creative material, allowing the ideas to be explored through both theory and sound.
Being selected to present at BCUR is an exciting opportunity because it allows me to share my work with students and academics from a wide range of disciplines. It also provides valuable experience in communicating research to an audience outside my own course.
Opportunities like this are important because they help connect academic research with real creative practice. Presenting the project at BCUR allows the ideas behind the work to be discussed more widely and encourages conversation about the role of music as a cultural and political voice.
For me, presenting at BCUR represents an important milestone in my studies and a chance to share the ideas behind my work with a wider audience.
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23rd March 2026
What I Learned at the Abbey Road Amplify Event
Earlier this year I had the opportunity to attend the Abbey Road Amplify event at Factory International in Manchester. The event brought together a wide range of people working across music production, technology, and the wider creative industries.
One of the most interesting parts of the event was hearing from professionals who are currently working in the industry. Many of the speakers talked about how the music industry is constantly evolving, particularly with the growth of new technology and new ways of producing music.
There were also demonstrations of new music technology and discussions about how tools such as AI are beginning to influence creative work. While some people see these technologies as a threat, many of the speakers talked about them as tools that can support creativity when used thoughtfully.
For me, the event was valuable because it provided a glimpse into how the industry currently operates. It was also encouraging to see how many different career paths exist within music production and related fields.
Experiences like this help reinforce why projects like the Zerosum Recordings showcase are important. They provide a chance to start building connections, present ideas, and take early steps into the professional world.
Overall, the Abbey Road Amplify event was both inspiring and motivating, and it helped strengthen my interest in continuing to develop my work as a producer and engineer.
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16th March 2026
Research Behind the Zerosum Recordings Showcase
While planning the Zerosum Recordings showcase, I looked at a range of research related to creative practice, industry expectations, and public-facing events.
One idea that influenced the project came from the concept of the “experience economy”, which suggests that audiences value experiences as much as products. This helped shape the decision to create an interactive recording demonstration rather than simply presenting finished tracks.
Research on employability in the creative industries also helped inform the project. Studies suggest that creative practitioners often build careers through portfolios, networking, and visible examples of their work. This reinforced the idea that launching the website alongside the showcase would be an important part of presenting my work professionally.
Another useful area of research looked at how recording environments affect performers. Some studies suggest that musicians often feel more comfortable recording in familiar spaces, which supports the idea behind mobile recording sessions.
Looking at these ideas helped shape the structure of the showcase. Rather than focusing purely on technical equipment, the project focuses on the experience of recording and the communication between producer and artist.
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5th March 2026
Planning the Next Step: Life After My Music Production Degree
One of the most useful parts of the Launch Pad module has been thinking seriously about what happens after finishing the course. The progression workshop encouraged us to think about different career paths and how we can start building a professional identity.
One of the biggest things I took away from the session was how important it is to build a strong portfolio. In creative industries like music production, people want to hear what you’ve done and understand how you work. A good portfolio can open doors to collaborations, freelance work, and future opportunities.
For me, the next step after completing my degree will be continuing my education by studying for an MA in Music Production. This will allow me to develop my technical skills further while also exploring more advanced production and recording techniques.
At the same time, I plan to continue building Zerosum Recordings as a working recording service. The idea behind the studio is to provide accessible recording for emerging artists, particularly through mobile recording sessions that can take place in rehearsal spaces.
The Launch Pad showcase is an important step in that process. It allows me to present the studio concept, introduce the website, and start building connections with musicians who might be interested in working together.
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23th Feb 2026
Designing the Zerosum Recordings Showcase
The Launch Pad project is all about presenting our professional identity and future direction. For me, that meant thinking about how I could introduce Zerosum Recordings in a way that shows both the technical side of recording and the human side of working with artists.
One of the main ideas behind the showcase is to focus on the recording process rather than just the finished music. A lot of people listen to recorded music without ever seeing what happens during a recording session. By creating a small recording setup in the gallery space, visitors will be able to see how the process works in real time.
The plan is to bring a simple mobile recording setup to the exhibition space. This will include a microphone, an acoustic guitar, and a recording system connected to my laptop. Visitors will be able to briefly try recording something themselves and hear the result through headphones.
Alongside the physical demonstration, the Zerosum Recordings website will launch at the same time. QR codes, flyers, and business cards will allow visitors to go straight to the website and explore the portfolio, services, and contact details.
The target audience includes musicians, creative students, and anyone interested in music production. The goal is not just to show the equipment, but to demonstrate how recording sessions actually work and how artists are supported throughout the process.
Overall, the showcase is designed to feel practical and approachable while also introducing Zerosum Recordings as a professional recording service.
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11th Feb 2026
Building the Zerosum Recordings Website: Learning from Professional Producer Sites
While building the Zerosum Recordings website, I spent some time looking at how other producers and studios present themselves online. A website is often the first place someone will go to learn about a producer or studio, so it needs to communicate who you are, what you do, and how people can work with you.
One of the websites I looked at was Abbey Road Studios. Their site is very clean and easy to navigate. You can quickly find information about their studios, services, and the artists they’ve worked with. The branding is very consistent, and the site uses strong imagery that immediately communicates professionalism and history.
Another example I looked at was producer Warren Huart’s website. His approach is slightly different because he combines his production work with educational content. His site includes videos, studio insights, and breakdowns of recording sessions. This gives visitors a sense of his personality as well as his experience.
One thing both sites do really well is clarity. It is always obvious what services are available and how to get in touch. Portfolio examples are easy to access and the overall design makes the information easy to follow.
Looking at these examples helped shape my own approach when building the Zerosum Recordings website. I want the site to clearly explain the services I offer while also showing how I work as a producer and engineer. Rather than just acting as a portfolio, the website should give artists a clear understanding of what working with me would actually look like.
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