Proposed for appointment by: Poppy Baskcomb, V V Brown, Cathy Dennis, Darren Emerson, Tom Gray, Crispin Hunt, Daniel Pemberton, Chas Smash, Fatboy Slim, Mike Stobbie, Pete Woodroffe
John Truelove, co-writer and producer on a little song called "You Got The Love”.
Punk Rocker, New Romantic, Parent, Acid House Raver, Producer, Composer, DJ, Record Company Owner, World Traveller, Live Performer, Tree Hugger, Publisher, Copyright Activist, Music Rights Champion, Board Member, Charity Trustee.
Activities/Interests: Music to Picture, Synthesisers, Software Design, Contemporary Dance, Sustainable Landscaping, Organic Horticulture, Vegan Cooking, Herding Cats, Motorbikes, Sustainable Architecture, Mental Health, Homelessness, Human Rights.
Supports: Shelter, Advisory Service for Squatters, Hope Not Hate, Liberty, Centrepoint, Amnesty, Water Aid, Solar Aid, Planned Parenthood, Led By Donkeys, Good Law Project, Help Musicians (UK), Bridges For Music, PRS Members' Fund
Boards/Committees/Organisations:
All in (roughly) chronological order. All still current unless otherwise indicated.
Musicians Union (member), PRS (full member and elected director), MCPS (member), Music Publishers Association (member), Pop Publishers Committee (MPA) (attendee) (-2017), PRS Dance Music Group (founder and chair), Music Publishers Association Board (director)(2012-2018, 2020-2024), IMPEL Board (director), MCPS/PRS CAG (attendee) (until 2022), Association For Electronic Music (advisory board) (-2021), BBC Working Group (PRS) (2016-2017), Ivors Academy (member), IMPEL Collective Management Ltd Board (director), PRS Members’ Council (elected director) PRS for Music Distribution Committee, PRS GEOL Sub Group (distribution) (2022), PRS for Music Licensing Committee, PRS for Music Ltd Board (director), AI Working Group (PRS), PRS Members' Fund (trustee)
I am proud to have a full attendance record for all meetings of the PRS Members' Council, PRS for Music Board, Committees and sub-groups, and full and vocal engagement at those meetings on behalf of the membership.
Musical Influences: Led Zeppelin, Sex Pistols, Suicide, Joy Division, OMD, Sun Ra, Talking Heads, Madonna, Quincy Jones, Cocteau Twins, Laurie Anderson, Nile Rodgers, Fingers Inc, The Prodigy, Orbital, Chemical Brothers, Fatboy Slim, Faithless, Skunk Anansie, Pharrell Williams, John Barry, Steve Reich, Philip Glass, Johannes Brahms, Giuseppe Verdi, and our old friend Ludwig Van…
Current and recent directorships: IMPEL Collective Management Limited, John Harley Limited, Performing Right Society Limited, PRS for Music Limited, and Tortured Artists Limited
Members’ Council attendance since last appointment:
10 out of 10 meetings.
Manifesto
I’m asking for your vote in the 2026 PRS election because the system only works if creators keep pushing it forward.
When I joined PRS over 25 years ago it was a closed shop. You registered your work, crossed your fingers, and hoped the money turned up. Transparency was optional.
That world is gone. We collectively blew the doors off.
Today PRS represents everyone. Songwriters and media composers, DJs and rock gods, classical writers and club kids. Different scenes, same rights. At least that’s the idea.
PRS is surrounded by organised chaos. Rights splinter. Technology moves faster than the rulebook. I’m informed by my roots in electronic music, where innovation always outruns policy. If members don’t stay hands-on, the loudest voices win and creators lose.
That’s why elected member directors matter. Our job is not to nod along. It’s to energise, inspire and help translate real creative lives into fair licensing, fair distribution, and systems that actually work. It also means being willing to make audacious decisions before value leaks away for good.
During my years on the Members’ Council I’ve focused on exactly that. Listening hard, arguing harder, and pushing for clarity, fairness and better outcomes for members.
There’s still work to do. Better identification. Cleaner data. Less fog. Faster systems.
And now the biggest challenge of all. AI.
We are already drowning in oceans of AI slop, content designed to game platforms rather than reward creativity. It overwhelms systems, distorts distributions, and is already dragging down the value of human work.
For many writers, this disruption isn’t theoretical. It is already savaging long-standing livelihoods. We can’t turn the clock back. Nostalgia is not a strategy. But neither is abandonment. Alongside firm action on AI and rights enforcement, PRS must find a way to support members while the system and policy catchup.
If you want a director who turns up (I have 100% active attendance record), speaks out, and defends creators as the ground shifts, I’d be proud to have your vote.
Let’s keep the value of music where it belongs. With the people who make it.
