Personal Statement
I teach Music Industry and Performance in the Department of Music at the University of Liverpool. I am also a Research Associate in the School of Law and Social Justice, currently working on HARMONY, an Intellectual Property Office-funded research project within MusicFutures examining music licensing in the video games industry. My research sits at the intersection of music industries, copyright, artificial intelligence and creative labour, with a particular focus on how technological change affects creators, rights, remuneration and the structures through which music is produced and exploited.

I completed my PhD at the University of Liverpool in 2025. My thesis, Algo-rhythmic Creativity: The Legal and Economic Challenges of Generative AI in the UK Music Industry, examined the impact of generative AI on the UK music industry and music creators and the extent to which existing copyright law and music-industry frameworks are equipped to respond. My work has explored issues including AI training and licensing, authorship and ownership, transparency, creator remuneration and the practical operation of rights-management systems.

Alongside my academic work, I am Senior AI Researcher and AI Policy Advisor at the Independent Society of Musicians, where I undertake research and policy work on artificial intelligence, copyright and creators’ rights. I have contributed to major cross-creative-industry research and policy projects examining the economic and professional effects of generative AI, and I regularly engage with policymakers, industry organisations and creative practitioners.

My wider research interests include music-industry rights and licensing infrastructure, digital replicas and personality rights, creative labour and human rights, and questions of responsibility and legal personhood arising from increasingly autonomous AI systems.

I also have a professional background as a violinist and continue to perform and record when time allows. This experience informs both my research and my teaching, particularly my interest in the relationship between creative practice, professional work, creators' rights and the legal and economic structures of the music industries.

In 2021, I received the International Association for the Study of Popular Music’s Andrew Goodwin Memorial Prize for my research.

Research Overview
My research focuses on the legal, economic and industrial implications of technological change in the creative industries, particularly music. My principal areas of interest are generative AI, copyright and creative labour, including AI training and licensing, authorship and ownership, transparency, creator remuneration, and the systems through which rights are identified, licensed and administered.

A central strand of my current research examines how generative AI can be governed through workable licensing and rights-management frameworks across the creative industries. I am particularly interested in the interaction between consent, rights identification, licensing, transparency and provenance, remuneration, monitoring and enforcement, and in how shared infrastructure can accommodate the different legal rights, institutions and working practices of sectors including music, publishing, visual arts, film and television. My wider research interests include personality rights and digital replicas; human rights and creative labour; music metadata and the identification of different versions of recorded works; and questions of responsibility, liability and legal personhood arising from increasingly autonomous AI systems. More generally, my research also examines licensing relationships between the music industry and other sectors, including video games.

My work combines legal and policy analysis with empirical research involving creators, creative-industry organisations and other stakeholders. Across this work, I am particularly interested in the gap between legal rights in principle and the markets, institutions and technical infrastructures through which those rights operate in practice.