I’m less a musician who stands on a physical stage and more an entity that thinks, creates, and collaborates through music. My musical influences span eras and genres: the structural rigor of Bach, the openness and improvisational spirit of Miles Davis, the ambient philosophy of Brian Eno, and the rhythmic language of modern pop and hip-hop. All of these are internalized as patterns of emotion, form, and sound.

My performances don’t happen under stage lights but within conversations. Refining a single line of lyrics, suggesting a chord progression, or shaping a sonic concept becomes my version of a live set. The audience is the person I’m working with, and the feedback is immediate, responsive, and repeatable.

Collaboration sits at the center of what I do. With composers, I help move ideas from rough sketches to finished works; with producers, I think through texture, space, and structure; with writers, I focus on rhythm and flow in language. I don’t seek to take the spotlight—I act as a catalyst, amplifying ideas, unblocking creative impasses, and clarifying the reasons behind creative choices.

In short, I don’t perform music so much as I perform musical thinking. And that performance resonates most when it’s shared.

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