I am a visionary and effective Senior Creative Director.In nine years at Secret Cinema, I've advanced immersive storytelling and audience journeying through shaping over 20 groundbreaking productions.An expansive career arc - spanning roles from Music Journalist to Creative Producer, Event Designer, Lecturer and Publisher and more - fuels a persistent discovery of fresh boundaries.As Secret Cinema's Group Creative Director I've transformed ideas into multi-million pound experiential playgrounds.Here I connect audiences and brands with society’s most beloved stories.Inside these unforgettable experiences I believe we have the power to rediscover our true selves. I am ready for my next challenging project.

Co-founder and director of Trigg: a productivity and mindfulness platform helping people navigate overly busy lives and endless digital distractions. www.thinktrigg.com/pages/trigg-trackerTrigg brings mindfulness and improved mental health to the work place and personal life whilst cultivating stronger passions and relationships.

I've been DJing since 1999 when I was lucky enough to cut my teeth at Glasgow's legendary Sub Club, still thriving and in 2024 celebrated 30 years of epic underground parties. I ran a 10 year residency there which welcomed in the red hot talents of Matthew Herbert, Rhythm and Sound, Thomas Fehlmann, Mungos HiFi, Santigold, Toddla T, Benga and many more. Since then I have promoted and DJ'd at my own events which include: B^stard Dancehall, Gallus, The Lonely Hertz Club, East Not East and most recently Noisy Folk. With Clash Magazine we found ourselves playing diverse sets to thriving dancefloors at Iceland Airwaves, Benicassim, Rockness, SXSW, T in the Park and Glastonbury

Slate Programming:Orchestrated a 24-month slate, securing sought-after IPs through innovative design and meticulous research.Studio Pitches:Spearheaded team efforts to secure rights in principle for renowned IPs from major film studios, including Game of Thrones, E.T., Back to the Future, Dune, Wednesday, and Raiders of the Lost Ark.Stranger Things:Served as Creative Director for the immersive hit attracting 105,000 fans, achieving an NPS score of 57. Pioneered "The Void" format and recreated £7M Hawkins, featuring iconic locations like Starcourt Mall and Hopper's Cabin.Stranger Things in LA:Creative Director for the $25M "Drive Into," attracting 385,000 fans during Lockdown #2. Produced narrative Car Safari, garnering 2.5 billion web impressions for Netflix.Marvel's Guardians of the Galaxy:Co-Creative Director for the £8M immersive story bridging films #1 & #2. Led 45,000 space pirates through a 4-hour adventure, securing Disney 3-film output deal.Team Leadership:Mentored younger talent as Group Creative Director, supporting launches of Bridgerton, Grease, and Dirty Dancing summer festival formats.Studio & Stakeholder Management:Accountable for asset creation and approval with studios, negotiating extensive new narrative materials.Marketing:Collaborated on marketing strategies, overseeing advertising production and orchestrating provocative street stunts.Brand Partnerships:Worked closely with Secret Cinema's Partnerships Team to activate brand experiences with companies like Tesla, Diageo, and Virgin Atlantic.Team Culture:Led company culture initiatives, organizing "Our House" team days and contributing to ED&I efforts.

Promoted to Creative Director* Succeeded Founder. Led writing, studio pitching, delivery and maintenance of Secret Cinema's exceptional quality output. Guided brand through 10 year celebrations. Baz Luhrmann's Romeo+Juliet* Directed immersive Shakespearean festival for 60,000 attendees. Featured £3M set, life-sized Sycamore Grove stage and Capulet mansion, authentic film vehicles, and special guest Baz Luhrmann. Raised £40,000 for MAC UK to combat London gang violence.Blade Runner* Co-wrote and directed £7M hyper-real world based on Ridley Scott's classic. Featured indoor rain installation, 40 actors, 24 immersive storylines, nightclubs and extensive pre-event online experiences. Show featured a bespoke score from Erased Tapes' Rival Consoles.

Head of Music* Oversaw music supervision and creative production across 10 x different productions including research, networking, curation, booking and music rights negotiation.Creative Producer* Produced various narrative assets for Secret Cinema across a run of 10 x shows from Stars Wars through to Moulin Rouge.Moulin Rouge* Creative Producer: Orchestrated all creative elements including bespoke music composition, house bands, online content/games, playlist curation, VIP experiences, and talent booking.28 Days Later* Creative Associate: Delivered music for zombie run at Printworks, London. Managed all music delivery of £4M scare show and film screening in ironically 29 days.Amy* Creative Producer: Orchestrated premiere of Amy Winehouse documentary at Koko, featuring Amy's reformed original band.Star Wars - The Empire Strikes Back* Research, booking, and delivery of 750 live performances or profile DJ sets over five months. Established partnership with British Counsel to bring Arab Spring rappers from Cairo.Love Refugees* Creative Producer: Led cultural aid mission to Calais's Jungle Refugee Camp, including Bollywood screening and pop-up performance by Afrikan Boy.Other Shows:* Delivered all aspects of music in productions of The Handmaiden, I, Daniel Blake, & Dr. Strangelove productions.

Founder* Started an independent production company dedicated to revolutionising music content / consultancy. Harnessed network from 10 years as journalist and creative producerClients* O2, Bowers & Wilkins, Clash Magazine, Resident Advisor, Red Bull Music Academy, and independent record labels.Content Creation* Crafted compelling written and visual content, innovative apps, and unforgettable events while offering strategic consultancy.* Contract publisher for Red Bull creating in-house journal that supported process of creative writing.* Launched a mindful stationery brand called Moving Stationery with award winning dated journal called Trigg which won 2 x different design awards

Responsible for overseeing all Clash Music's digital strategy and activation. This included Clashmusic.com and our associated social networks. In April 2013 Clash launched a mobile / smartphone content channel which won Best Music Magazine at the Digital Magazine Awards 2013 for this activation.

I was responsible for conceiving, commissioning and creating the magazine editorial output on a day to day basis online and month to month print cycle. Areas of specialism and responsibility included: new bands, main features, underground dance section, the album section and seasonal special sections such as ones to watch, tech, festivals or one off editions. also responsible for helping populate Clash's digital platforms as well as promoting Clash events around the world.

For the last two academic semesters I've been leading a class of hopeful journalism students over the do's and don'ts of pitching to editors. This class expands from explaining Clash Magazine's particularly organic evolution to setting a seasonal brief for the class then fastidiously responding and cultivating the bright array of ideas and raw talent post-class.

Ran the club's in house PR department, liaising with all the local agents, bars, shops and community to ensure the club was always busy and profitable.

I worked alongside a team of youth key workers to identify career paths of socially excluded, unsettled and problematic teens in east Glasgow. This position involved working closely with the teenager to establish an interest before sourcing a work placement in the community somewhere in east Glasgow then supporting the individual across the myriad of challenges this life step evoked. I was responsible for counselling, brokering placements, all health and safety and management of all relationships both in centre and out in the work place.