From my earliest days, music has been the most important thing in my life, and I am told that I could tap in time and hum in tune even as a baby.

My desire to play music is like somebody who simply must know how a magic trick is done, rather than simply be satisfied at having been wowed by the effect. For those people, the true magic is in knowing the skill required to perform each sleight of hand, as it is for me in understanding how music works: my lifelong mission has been to acquire the skills to move people with music the way music moves me.

I grew up in a household absolutely filled with music and an extended family boasting many excellent musicians, both professional and amateur. We would watch each other perform live and play together at home as often as possible. I also attended a secondary school renowned for its music department, where my formative musical years were spent under the mentorship of several excellent musicians. This all cultivated a sense that music is a natural – essential, even – part of life, a philosophy that I continue to hold dear and hope to pass on to my own children. 

My own journey to becoming a professional musician is pretty standard: I finished school and did a music performance degree whilst gigging as much as possible and working in a recording studio, the hands-on experience of the latter two shaping my present musical identity far more than the degree itself.

If I had to pick a niche, I would say that I specialise in blues and jazz guitar, though I am comfortable in most styles of modern popular music. Having spent a few years in the pit at London’s Chickenshed theatre playing everything from metal and country to grime and hip hop, I have turned my hand to almost every genre. This performance versatility works symbiotically with my composing, and I am a deft writer across many genres, notably having composed for Universal Music to briefs such as ‘summer pop’, ‘dark cinematic’ and ‘growling vocal blues’. For the dark cinematic brief, I composed and arranged a string part that was recorded by The City of Prague Philharmonic Orchestra. Incidentally, being married to an elite opera singer, I am privileged to hear a great deal of live orchestral music and I would welcome more orchestral opportunities in the coming years.

Alongside this and session work in my local area, I have gigged extensively, performing both covers and original material. My reputation on the English blues guitar scene led to a headline booking at Georgia’s first ever blues festival, held on a vineyard in the Lagodekhi Nature Reserve and overlooked by the Caucasus mountains – comfortably the most scenic show I’ve ever played. I have also taken my original music project, Baron Goodlove & The Dreadful Noise, to festivals across the UK, including the mainstage at Standon Calling and Bearded Theory’s Spring Gathering, and received national airplay from BBC Introducing and Whispering Bob Harris.

Since moving to Germany in 2024, I have been taking on remote session work, notably doing my best Grant Green impression for the 2025 soulful house hit Hurt So Bad by Dan the Drum ft. Carmy Love. This received extensive radio play from the likes of BBC Radio 2 and Jazz FM.

On top of my performing, composing, arranging and session work, I have spent a number of years teaching guitar in music shops, schools and privately. I relish teaching, and would love to take on some new intermediate and advanced students for Zoom lessons – please get in touch to discuss options.

Have a listen below: