20 years in music. Always artist-side.
From the bowling alley DJ booth to Barfly bookings to Rob Hallett's Robomagic to catalogue brokerage — my path through this industry has always been about one thing: getting the artist a fairer deal than the last person offered.
Backstage with Craig David — one of the artists I worked with during my Robomagic years.
I started as a DJ in a bowling alley — proper start. Moved on to a local bar, then to booking the early shows for artists like Kate Nash, Bastille, Example, and Bombay Bicycle Club before they broke.
That got me to Barfly and Mama Co, where I booked and promoted for years. FKA Twigs, Rizzle Kicks, Soko, Darwin Deez, Lianne La Havas, Bear's Den, Anna Calvi — those were the rooms I was running.
Then Rob Hallett brought me into Robomagic. That's where I worked with Craig David, Nile Rodgers, Christy Moore, Loudon Wainwright III, and others — a different scale of artist, a different level of decision-making, and where I really learned what a properly-structured deal looks like from the inside.
I took a sabbatical and trained as a counsellor — which sounds like a swerve, but it's the training that most changed how I work. You learn to listen carefully, ask better questions, and separate what someone is saying from what they actually need. More useful in dealmaking than any spreadsheet.
I came back through Bakery Boy Music, then RUN in 2024, and started Changing Tides Music Ltd in July 2025.
The through-line: I've always been on the artist's side of the table, and I've always been independent. I've never worked for a major label. I've never worked for a fund. I've never worked for a company whose commercial interest was different from the artist's. That's not marketing — that's the actual job history.
Changing Tides is where all of that comes together: 20 years of live work, artist relationships, deal structuring, and rights work — pointed squarely at getting artists, estates, and labels the deals they actually deserve.
I also founded Wavy Music ↗, a separate independent distribution company built around the same basic idea: there should be a real human relationship behind important decisions about your music.
The work, in four lines.
Sell your catalogue.
Valuation, finding the buyers who actually want it, a competitive process, and the negotiation — run from your side of the table. How catalogue sales work →
Fund against it.
Fixed-term licensing and catalogue funding — upfront capital without assuming a permanent sale is the answer. How funding works →
Understand what you've got.
What is your catalogue actually worth? The growth drivers, the risks, the untapped rights — in plain English, so you make the decisions instead of being told what to think.
The unglamorous part.
Reversion clauses, income transfers, catalogue splits and reunifications — the technical work that turns a mess into a clean, saleable asset.
Rooms I've been in. Artists I've worked with, live.
- Bastille
- Nile Rodgers
- FKA Twigs
- Craig David
- Kate Nash
- James Bay
- Lianne La Havas
- Bombay Bicycle Club
- Arrested Development
- Loudon Wainwright III
- Christy Moore
- Example
- Anna Calvi
- Bear’s Den
- The Orb
- Mystery Jets
- Rizzle Kicks
The practical stuff.
Where I work
Based in Margate, UK. Deals across UK, Europe, US, Latin America, and beyond.
Response time
Within 72 hours, every time. Every enquiry gets read, whether or not it's a fit.
Deal size
$50K–$16M+. Catalogue sales, funding and licensing across that range.
Founded
Changing Tides Music Ltd — founded July 2025. My 20 years in music before that, always independent.
Talk to me about your catalogue.
15-minute call, no pitch. I read every enquiry — every one.