For this solo at the Whitenight festival in Tel Aviv I was joined by 8 dancers.

"The work of Daniel with the Oktet dance group was one of the highlights of the festival for me as a director. i was very pleased and excited by the show. the concert hall was full and the audience was captivated. Daniel also made a strong impression as a person, in his professional manner and high standards of work. it was a pleasure to have him, and i will be pleased to share future projects with him." Tzvi Yaffe, Tel aviv art ensemble director.

a video of this performance is on oktet's facebook page.

For this Solo on Oxford's broad street lighting was provided by French fire sculptors Carabosse for a magical, medieaval feel to the eving. I used some home made instruments, voices from learning disabled singers and my own folorn waltzes.

Onstage I use looping and/or live sampling techniques - where sounds from the cello, guitar or homemade instruments can be taken as they happen and transformed before your ears. The process is transparent and works well as a visual concert, unlike a lot of electronic music. The live element has always been important to me and I approach a concert very differently to a recording, inviting the audience in, through what they see, to a greater enjoyment of what they hear.

I like to suggest that my music is characterised by its investigative nature.

I have always enjoyed playing solo and entertaining with unexpected music. I played for some years as a regular soloist and accompanying random films in noisy psychadelic CLUB DOG, a kind of outdoor festival, indoors (complete with competing multiple stages and inquisitive dogs.) There I was required to play improvised film soundtracks or switch into cabaret as films changed or broke. The confused environment often requiring drastic behaviour to hold the attention of the bewildered revellers. Functional thinking had sometimes to switch to proactive. Requiring an impromptu song or grotesque clowning.

As a frequent accompanist/composer in the theatre as well as a performer, I am comitted to the idea of functional music, where perhaps neither the musician nor the actor/dancer is the centre of attention. Where a performance is made of many elements and the audience may choose where to focus.

Similarly, I have recently played long solos at art openings requiring an inquisitive background sound that sustains the passive observer and rewards the listener. For these I sometimes use a multi-speaker sound system which constantly shifts sounds around the space and works well at a low volume. This music is abstract and discreet, because I am not the focus of attention . Yet it has integrity and bears the scrutiny of closer listening.

email daniel @ danielweaver.co.uk please remove spaces