Three decades in music, rights and the businesses around them.

Matt’s professional life began in UK club culture in the 1990s. He promoted events, DJed in Britain and abroad, taught himself production and engineering, and built a network among artists, producers and A&R teams. By the end of the decade Matt had moved into international licensing and music-business development.

In 2000 Matt took over the London Bridge studio complex and redeveloped it as a multi-studio creative base. That period led to producer management, mainstream pop work and the relationships Audiofreaks and Soulshaker grew out of.

In 2004 Matt co-founded Audiofreaks with Warren Meyers and Dale Askew. It grew into a production, publishing, management, licensing and campaign business, with Soulshaker as its best-known production identity. The Official Charts Company records Soulshaker’s Hypnotic Erotic Games at No. 22 on the Official Independent Singles Chart in August 2005, and No. 10 on the same chart in April 2006.

Later Soulshaker work connected the team to CeCe Peniston, Chaka Khan and Deborah Cox. The Soulshaker remix of Chaka Khan featuring Mary J. Blige’s Disrespectful reached No. 1 on the Music Week Commercial Pop chart in the UK, reported in the issue dated 16 May 2009.

Deborah Cox’s Let the World Be Ours Tonight reached No. 1 on the Billboard Dance Club Songs chart in the US in 2017. Matt produced it with Warren Meyers as Soulshaker, and originated the project through Audiofreaks. It was written by Warren Meyers and Jenna Donnelly.

International campaigns are the centre of Matt’s work. He has helped hundreds of artists get their singles licensed around the world, into the charts and played by DJs internationally. Across writing, production and remixes, the Audiofreaks team has worked with artists including Nicole Scherzinger, Afrojack, Alesha Dixon, Wiz Khalifa, Snoop Dogg, Crystal Waters and Martha Wash.

Audiofreaks worked on ITV2’s award-winning, BAFTA-nominated series The Big Reunion, with Matt as one of its music directors and music producers. The company has made title music for prime-time series including Ant & Dec’s Saturday Night Takeaway, Surprise Surprise, Meet the Parents with Holly Willoughby, Peter Andre: My Life and Coach Trip: Road to Ibiza on E4, and Matt and the team were music producers on Netflix’s Dance 100. Music Week reported in February 2014 that Peermusic had extended its deal with the company, noting four prime-time television theme commissions.

International publishing became a major part of the work. Oricon credits Mathew Oscar Meyers as co-composer and co-arranger on Super Junior-D&E’s Bari 5!. JASRAC’s 2019 awards documentation lists Galactic Music as a publisher of Namie Amuro’s Just You and I, administered by Nichion. Audiofreaks and Galactic writers and producers have contributed to K-pop and J-pop releases by TWICE, IVE, ITZY, NCT DREAM, SHINee and SixTONES, among others.

Matt manages the London pop artist Allegra. Record of the Day names him in her management and publishing contacts on releases from 2021 to 2025, and in Livvy Lauren’s management contacts in 2024.

In 2024 Matt co-founded HitVocals with Warren Meyers, Dale Askew and music manager Chris Herbert, whose career includes putting together the Spice Girls. Companies House lists Matt as a director from incorporation and one of three people with significant control. HitVocals is a curated marketplace for human-recorded vocals, with direct artist contact, exclusive and non-exclusive licensing, stem delivery, and a service that turns human-written AI demos into performances recorded by professional singers.

Matt also runs Londons.ai, an AI consultancy, as an applied AI strategist, builder and creative technologist. It helps companies work out where AI can improve how they operate, create content, develop products and manage knowledge, and then helps build it.

MMMMM brings those strands together: records and repertoire, people and partnerships, rights and business development, television and media, and practical technology built to last for human talent.

Over the last few years AI has become a bigger and bigger part of my work. It started with experimenting with generative tools and grew from there. My AI work now covers strategy, workflow automation, AI agents, knowledge systems and rapid product development, and on the creative side generative video, avatars, imagery, voice, music and AI-powered content production.

In practice that means things like retrieval and semantic search over a company’s own documents, internal knowledge bases, specialist agents, automated content systems and fast prototypes of new products. On the creative side it means AI music videos, digital humans and avatars with consistent characters, product and fashion visualisation, AI advertising and synthetic voice.

I work across ChatGPT, Claude, Gemini and NotebookLM, and automation and development platforms including n8n, Make, Notion, Bubble, Vercel, Supabase, Cloudflare, AWS, Claude Code, Codex and Cowork. For media I use Runway, Midjourney and Veo, and Logic Pro for music. The tools change every few months, so I reach for whichever fits the problem. What I care about more than any one of them is getting them to work together, connecting models, automations and business tools into workflows that help a business get more done.

I’ve spent three decades on the rights side of music: publishing, licensing, A&R, management, and the administration underneath all of it. Recording contracts, performers and intellectual property are what I know best. That’s also where AI is arriving fastest in this industry, and where it’s being thought about least carefully.

It’s already changing how music gets made and marketed, how A&R works, how catalogues are managed, and how licensing, publishing and rights administration get done. I’m interested in AI that makes commercial sense and rights sense at the same time.

Having both is a commercial advantage. If you understand the technology but not the rights, you build something nobody can licence. If you understand the rights but not the technology, you keep doing it by hand and lose to whoever doesn’t.

I’m not a machine-learning engineer, and I don’t present myself as one. The work I do is applied. I like to understand how a business actually runs, see what AI could change in it, design the solution and help get it built.

Sometimes that ends up as an automated workflow or an AI agent. Other times it’s a new product, or a whole creative campaign. I do that work for companies through Londons.ai, my AI consultancy, which helps them work out where AI can improve how they operate, create content, develop products and manage knowledge, and then helps build it.

HitVocals is the version of this you can check for yourself: a live platform with search, artist profiles, licensing workflows, direct messaging and stem delivery, run by a company I co-founded and direct, incorporated at Companies House in January 2024. My business partners and I built it with AI, the no-code platform Bubble and Amazon Web Services, among other tools.

The technology will keep changing. What I bring is the judgement about where it’s worth using in the first place.

Matt’s work with AI is applied rather than engineering. He uses it across strategy, automation, product development and creative work, and sees his role as understanding how a business runs, spotting what AI could change in it and getting the solution built.

His particular interest is AI that makes commercial and rights sense at the same time, which comes from three decades spent around recording contracts, publishing, licensing and performers. HitVocals is where that thinking became a product, built on the idea that human performance is worth paying for in a market filling up with synthetic alternatives.

The same approach runs through how this site is written. Every credit names its role, its chart and its source, because a claim you can check is worth more than one you can’t.