LUSTRE is an Artist Management company and Record Label with offices in Byron Bay & London. We drive our business forward through connecting our clients with their purpose, and utilising our resources to elevate the creative and commercial outcome.LUSTRE’s stable of clients include GRAMMY-nominated creatives, and a niche list of acts who have achieved over one billion streams.We connect people, build culture and curate experiences - linking unique grassroots ideas with a global audience.

In mineralogy, LUSTRE is a term that refers to the way light reflects. This is our analogy for witnessing and experiencing art. Every experience is unique.

Our mission is to Uncover Gold

Music Supervision for Film & TV & Music For Spaces.Trailer Media was established in 2001. With offices in London and Sydney we work as an independent music supervision/consultancy and produce for advertising agencies, brands, hotel chains & production companies Globally.

Building the master synch business at Kobalt as the Label Services and AWAL. Developing operations and systems to handle the rapid growth of the catalogue. Pitching, clearing and securing placements across all media for a wonderful mix of living legends like Nick Cave to the young pretenders coming through AWAL creating the sounds of tomorrow.

Brand partnerships and synch licensing across publishing and label services, for an incredibly diverse roster of artists including Foo Fighters, Beck, Skrillex, Pet Shop Boys, Todd Terje, Frank Sinatra, Wolf Alice, Alt-j, and tons of emerging artists.

FIXERS is the talent, licensing, and commercial partnerships division with FRUKT. Took a lead role in growing the team, reworking FIXERS' service offering, and marketing the business and developing the profile within the music industry. Worked on campaigns, pithing and clearing music, finding and negotiating with talent and researching feasibility for complex brand challenges. Launched a new music night down at The Heavenly Social called The FIX, which now receives support from BMI and DIY magazine and is developing a loyal following.

FRUKT create and deliver smart ideas for brands to engage with their consumers through music and entertainment. I delivered opportunities for work with brands like Kopparberg, Nike, Google, Blackberry, Oxfam and Nando's, and developed an understanding of how to deliver meaningful brand partnerships that benefit the artist and the brand. The agency has grown from 30 people in London to 85 in London, NYC, LA and Rio de Janeiro.

Indulging my passion in music for all things contemporary, alternative, rare, traditional, world and progressive, I freelance in my spare time for organisations like the Barbican and Serious, looking after leading musicians and coordinating back stage arrangements at events like London Jazz Festival, Back 2 Black, BT River of Music, Africa Express and other concerts at the Barbican arts Centre.

NR+P existed to help arts and cultural institutional organisations become more commercially savvy at a time when public funding was being reduced. As a junior consultant i was responsible for providing strategic and account management support as well as contributing to a landmark report in the Netherlands titled 'Strengthening Private Financing of the Arts', and setting up a new philanthropic initiative called the Dutch Masters.

Over 3 years some friends and I raised over £20,000 by getting a load of friends into a muddy field on a sunny day in an English Garden. I worked on the programming and production of 3 stages as well as securing drinks sponsorships. It's the only festival I've ever been to where everything is free when you're in, and we still made profit for charity.

I wanted to learn French. The Leondardo da Vinci exchange scheme provides funding and placements in towns around Europe. So I ended up in Nimes, living with a family of 7 folk musicians, working at the Conservatoire in Nimes and spending a lot of time in cafes drinking coffee trying to read newspapers. I learnt a word or two and even managed to develop the Conservatoire's relationships with other conservatoires around Europe and planned an exchange project between Morocco and Israel.

I worked in the music department partly in the concerts planning department, booking a season of contemporary and classical events, and partly in the production department making sure everything ran smoothly for our visiting artists, from visa applications to transport plans, to finding the right place to drink in London.