I didn't arrive at music analysis from journalism or academia. I arrived at it from the inside, from three parallel lives that have finally found somewhere to go together.
Music came first. Growing up, it was everywhere: church, choirs, harmonies learned by ear before I understood what harmonies were. That became performing, then producing, then a fixation with why certain songs connect and others don't. The feeling came before the framework.
Then came technology. A computer science degree and twelve years working in IT gave me a different kind of fluency: systems thinking, data infrastructure, an understanding of how platforms work under the hood. The music industry is now a technology industry. I've worked in both.
And then risk management. Ten years reading data under real commercial pressure. Building models. Explaining what numbers mean to people who have to act on them. That's what makes Track Record's analysis different. I'm not estimating streaming economics for fun. I'm applying the same rigour I was paid to apply for a decade.
Track Record is where all three of those things finally converge. It's a passion project, built from genuine obsession and backed by credentials that happen to fit it unusually well.