hello!
Hi, I’m Lydia — jazz singer, vocal coach, and a former MT teen who found freedom, depth, and joy in jazz in my twenties! After some theatrical teenage years (life peaked at 17 playing Dorothy in the Wizard of Oz in a local theatre), I went on to study a classical music degree in Bristol. A vibrant extra-curricular music scene there ignited my love for jazz, and I went on to study a masters in Jazz Performance at Guildhall School of Music and Drama.
Since then I've been busy touring the UK's theatres with Down For The Count Orchestra, and have been honoured to sing on stages like Ronnie Scotts Jazz Club, Glasgow Royal Concert Hall, Cadogan Hall, and many besides. I also teach singing at City of London School for Girls and absolutely want to share my love of jazz with you now.
i'm passionate about making jazz education accessible for all singers
so why me?
i'm passionate about making jazz education accessible to all singers
After spending 2 years at Guildhall School of Music and Drama on my Jazz Performance Postgraduate course, I have a lot to say about how jazz singing is taught. Yes, our voice is an instrument, but singing jazz has so much more to it than being a genius at scales and chords.
Most vocal jazz standards began as theatrical songs from 1920s–30s musical theatre and Tin Pan Alley. Over time, the influence of bebop and modern jazz reshaped their interpretation. I’m fascinated by this evolution, and how it informs jazz singing today. Let’s explore it together.
most jazz vocal standards originated in musical theatre
my performing career bridges the gap between musical theatre and jazz
Touring with the Down For The Count Orchestra, I often question what it means to be a 'jazz singer'. Performing songs like The Nearness of You or There's No Business Like Show Business with a 30-piece orchestra, I wonder—is this jazz? But the act of shaping a melody and responding to the ensemble - that's jazz at its core.
I’ve always made building a safe space to grow and learn a top priority in my teaching. I truly listen to each student, understanding that everyone has a unique learning style and musical background. I respond to each person individually—this isn’t a cookie-cutter course.