Philip Venables’ music is often concerned with violence, politics and speech within concert music and opera. He is described as “one of the finest composers around” (Guardian) and his work as “brutally effective” (Times), “original and intelligent in both form and content… reminiscent of Matthew Barney’s Cremaster Cycle” (Exeunt Magazine) and brilliant, extreme work that grips like a vice and won’t let go (The Guardian).

He collaborates extensively in cross-media work, including with artist Douglas Gordon on Bound to Hurt (HAU Theater Berlin, Kampnagel Sommerfestival Hamburg and Theater Basel), with drag/performance artist David Hoyle on Illusions (London Sinfonietta, UK New Music Biennial), The Gender Agenda (London Sinfonietta) and sound installation Canal Street (Manchester International Festival/Manchester Camerata) and with violinist Pekka Kuusisto on Venables plays Bartók (BBC Proms/BBC Symphony Orchestra). His debut album Below the Belt was released on NMC in 2018: “unmissable… music of forensic clarity and visceral force – but also great tenderness and generosity” (BBC Music Magazine); “if you only buy one classical disc advocating LSD and sodomy, make it this one.” (Gramophone Magazine).