Logan Wedgwood was a drummer in a moderately successful pop / punk band back in the 2000s.  As a means of reducing stress and expressing himself through the pandemic, Logan started learning the guitar and decided to launch an instrumental project called Sounds Escape.

The ethos of Sounds Escape is that Logan plays all the instruments, which meant he had to upskill as quickly as he could, to be able to perform the guitar and bass parts he had written. After a good effort on his debut release, he asked me to produce his sophomore album Electric Love.

Together we created a more refined and expressive release, showcasing Logan’s fast development as a bassist, guitarist and songwriter. Logans hopes the new album will secure some sync deals.

Zoe Vera is a very talented singer and writer who has experienced serious trauma in recent years.  After releasing two singles in 2024, she began looking for a producer who would not only help her develop her music further, but would also be a supportive fellow creative, as she persevered through a very stressful court case. 

Zoe has poured her heart out on her first EP ‘Live Harder’ and writing and recording the EP has been incredibly cathartic for her.  (Even her therapist says she’s in a better frame of mind, after each studio session) Zoe hopes her honesty and vulnerability will help other people who have experienced trauma and are still dealing with the fall out. 

When Keb Hart turned 60, he made the decision to finally pursue the musical ambitions that had lingered in the back of his mind since he was a kid, growing up in the UK. His brother had lots of success in the English music scene and Keb had always felt like he in his brother’s shadow, unable to keep up.  When he made the decision to go for it, he immediately ran into numerous obstacles, many of which he cited as agism. 

His first email to me started with the word “Help!”  He was looking for a producer as well as career guidance.  I went on to produce Kebs first EP ‘Under The Influence’, his second blues EP ‘New Blue’, I directed music videos for his singles ‘Sleeping In My Car’, ‘Raven Blues’ and ‘Once I Was’ and I recently produced his first full length album ‘Once I Was’. 

Noise Play started off as a single, became a live show, and then concluded as an album called ‘Junk’.  During the first lockdown in 2020, a group of seasoned session musicians remote-recorded a single called Just A Little Bit as a fun distraction and they all ended up being pleasantly surprised by how well the song turned out.  They then developed a live show that struggled to find its feet due to lockdowns, venue changes and injury.  The limited number of shows they did were well received and turned a profit, but soon the band turned their attention to making an album.  Just A Little Bit was re-recorded, five more originals were written and a reworked cover of Neil Finn’s She Will Have Her Way was included.  The album featured guest appearances by Mark Steven (Hands Off), Stephen Small (Hello Sailor) and Eddie Rayner (Split Enz).  It was a fun challenge to produce such an eclectic album, that mixed so many genres and featured such great musicianship.   

My very first client as a producer was… myself. I first worked in a recording studio as a sixteen-year-old intern back in 1995.  We recorded albums, radio jingles, radio adverts and much more.  From 1996 onwards, I’ve frequented studios to record singles, EPs and albums with various bands as well as working as a session musician.  After releasing my first two solo albums (2007 & 2009), I started producing my own albums.  I always had a knack for keeping the big picture and final vision in mind, while working on the fine details.  After several self-produced projects, I was soon asked to produce other people’s records.  This wasn’t something I had ever thought about doing, but once I started the process, I discovered a new passion.  It shouldn’t have come as a surprise (but it did) that prolifically writing and performing music since I was twelve, and working in studios since I was sixteen, had taught me a few things, that other artists found useful.   

Campbell began her artist journey young, working closely with Saiko’s management team and travelling internationally to write in New York, LA, Australia and London — including a month collaborating with Simon from Basement Jaxx. She was immersed in the process of being shaped and prepared for a future pop career, gaining experience with a wide range of writers and producers. At a certain point, Campbell recognised some of the trappings of the music industry and that the path she was on was changing her relationship with music itself. Making a difficult but grounded decision, she stepped away to protect her creativity and wellbeing. Years later, we crossed paths. I was struck by her story and the strength and clarity she showed in choosing authenticity over expectation at such a young age. I told her that if she ever wanted to reconnect with music for music’s sake, I’d love to explore that with her — and in little time, she reached out. Since then, we’ve performed live together, and I’m now finishing production on her new single, My Man.