I play the Trombone in Texas. I teach the Trombone at Prairie View A&M. Member of @twtrsymphony. I have a beautiful wife. I have 3 awesome sons. I am happy.

jjtbone.com | @jjtbone

'A composer with Northern Roots and an Internationalist perspective' 

‘A Radical Optimist’ – Aleksandra Line, Mūzikos Saule

‘BEN LUNN puts his beloved birthplace Sunderland on the musical map’ – Linton Stephens, BBC Radio 3

‘His work extends the palette of sounds that can be brought into contemporary classical music, redefining both modern composition and concert-hall inclusion.’ – Alan Morrison, Rhinegold.co.uk 

Powerful, poignant and deeply moving, Lunn’s composition certainly represents the spirit of Disability History Month 2018 and our current struggle for justice. – Gemma Nash, Disability Arts Online

‘Ben’s music is intricate and complex with unusual harmonies, making it challenging and exciting – well worth making the effort as the effect created was magnificent’ – John A. MacInnes


Ben Lunn has forged himself a unique position within the new music landscape. As a composer, Lunn’s music reflects the material world around him, connecting to his North-Eastern heritage or how disability impacts the world around him or his working-class upbringing. Alongside this, he has become renowned for his championship of others, which have seen him creating unique collaborations with musicians from across the globe and developing unique concert experiences and opportunities for others. He has won accolades from the Scottish Music Awards in both 2023 and 2020 for his work with Hebrides Ensemble and Drake Music Scotland, and in 2024 was shortlisted for the RPS Awards for his concerto History Needs… composed for Nicholas McCarthy. In 2022, Ben Lunn became the first North-East composer to be selected for the Royal Philharmonic Society’s Composer Scheme which sees him paired with Music in the Round. 

Lunn’s music has been described as ‘Evocative’, ‘Restrained Otherwordliness’, ‘Chilling’, ‘sophisticated and most importantly obsessive’ or ‘produces…glorious roaring sounds’ and ‘desolate monotone’. He has also been referred to as a ‘Composer of life music’, as well as ‘like Beethoven but drunk’ or a ‘real barn-stomper’.

Ben Lunn studied at the Royal Welsh College of  Music and Drama under the guidance of Peter Reynolds, and also the Lithuanian Academy of Music and Theatre with Marius Baranauskas. He has also received mentorship from composers Param Vir and Stuart MacRae. Since graduating from his Master’s Lunn relocated to Airdrie, where he currently resides; working as conductor, musicologist, teacher and composer. In September 2021, Ben Lunn started his PhD at the Royal Conservatoire of Scotland where he is exploring the impact of political ideology on composition – discussing Hanns Eisler, Alan Bush, Isang Yun, Luigi Nono, Jian-er Zhu, and reflecting upon his own work.

Lunn’s work has been featured in many leading international festivals including Sound Festival, Crossroads International Festival, Vale of Glamorgan, London New Wind Festival, Edinburgh Fringe Festival, Druskomanija, DaDaFest, Arēna Festivals, Leeds Leider+, Zilele Muzicale Aniversare, HASS FEST, Durham Brass Festival, Toronto Contemporary Music Lab, Second Movement’s Rough for Opera, and Occupy the Pianos. He has had the privilege of working with leading international ensembles and soloists including Royal National Scottish Orchestra, Orkestris Sinfonia Concertante, Hong Kong New Music Ensemble, N.A.M.E.S, Sofia Soloists, Ensemble 360, Lithuanian National Symphony Orchestra, Quadra Quartet, Hebrides Ensemble, Digital Orchestra, SONO Ensemble, Lomond Brass, Lotte-Betts Dean, Eegeru, Grace Maria Wain, NOYO, Orkest De Ereprijs, Ensemble Proton Bern, Red Note Ensemble, Ensemble Synaesthesis, Music Theatre Wales, Lore Lixenberg, Ligeti Quartet, ÖeNM, Ensemble X and Y, Nikolai Matsov, Rolf Hind, Stephanie Lamprea, Francoise-Green Duo, Garth Knox, Lore Lixenberg, Ember Septet, 5K Brass, Zubin Kanga, Martynas Levickis, JVLMA, and Jauna Muzika. 

As musicologist, Lunn’s specialities focus on Baltic Music, Horaţiu Rădulescu, Political Ideology and composition, and Composing and Disability. He has had the honour of lecturing at some of the world’s leading academic institutions including Fordham University, Mozarteum, RWCMD, Royal Conservatoire of Scotland, Jazepa Vitola Latvijas Muzikas Akademija, Komitas Conservatory, Durham University and Amsterdam Conservatoire. His articles have been published across Germany, UK, US, Russia, Lithuania, and collected by the Arvo Pärt Centre. He has also written for the Music Information Centre of Lithuania and Latvia. He was featured in the recent Policy Press book Lived Experiences of Ableism in Academia in which he contributed a chapter. He has also produced documents offering unique insights into how to make the concert experience more accessible Concerts from my point of view, as well as advising concert promoters and organisations to make their work more accessible for disabled artists, What we need to thrive. He has also worked closely with Making Music UK on a new document to assist amateur ensembles. 

In 2021, Ben helped found the Disabled Artist Network, an organisation which is bridging the gap between the professional world and disabled artists. Ben is chair of the Musician's Union's Scottish and North of Ireland Regional Committee and is chair of the North Lanarkshire Trades Council. He also contributes to the Morning Star and Culture Matters.

I am a tenor trombonist living in the Gran area of Norway, with doubling instruments of alto trombone, euphonium & voice.

Daniel Waples is from Greater London and first encountered the Hang Instrument late one night at a music festival in Lincolnshire back in 2005.
Almost instantly he made the transition from 'Guitarist' to 'Percussionist'.
Since getting his own in 2007 he has become one of the foremost players around and has performed his art in over 50 countries across 6 continents & amassed over 40 million views collectively on YouTube... Send a message to daniel@hanginbalance.com if you would like to make a collaboration of any kind :)

Miguel Frasconi is a composer and improviser whose instrumentarium includes glass objects, electronics and instruments of his own design. His glass objects are struck, blown, stroked, smashed and otherwise coaxed into vibration, while his unique approach to composition takes a similar approach, yet solely in the sonic domain. His array of activities have included collaborations with the Balinese composer Dewa Berata on music for a large-scale shadowplay, with operatic tenor John Duykers on unique music/theater events, and with the Tibetan songwriter Techung, with whom he has toured throughout India. He has composed chamber music, most recently for Ensemble IPSE; operas, most recently for Experiments in Opera; and numerous dance scores, most notably as music director for dance pioneer Anna Halprin. In 2017 his live score for Ripe Time’s production of Haruki Murakami’s Sleep was performed at the BAM Next Wave Festival. Miguel has works closely with composers John Cage, Morton Subotnick, Pauline Oliveros, James Tenney, Joan La Barbara, and Jon Hassell. In 2012 the New York Times called his CAGE100 Festival @ The Stone "one of the best observances of John Cage's 100th birthday" and included performances by his Noisy Toy Piano Orchestra and John Cage Variety Show Big Band. He was a founding member of The Glass Orchestra, the internationally renowned ensemble featuring all glass instruments (1977-86), and the San Francisco sound-sculpture band Mobius Operandi (1990-95) and has performed as a keyboardist with the Paul Dresher Ensemble (1988-95) and the Philip Glass Ensemble (1992). His music has been released on New Albion, Porter, and Clang.

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