I’m an American composer in London.

I write music about people.

I’m influenced by camp aesthetics, interpersonal relationships, and the nostalgic power of music.

I always strive for musical clarity, disarming straightforwardness, and good storytelling in music.

I’m a lecturer at the Royal Academy of Music, where I teach music theory and aural skills.

I am not the other composer called Geoffrey King, though I highly recommend checking out his work.

for string trio and melodica, written during my time at the 2021 Creative Dialogues France residency in Champtocé-sur-Loire

the final four movements of cantata superba, which tells the story of the arrest, interrogation and release of medieval genderqueer sex worker John Rykener

notes 59 & 60, two musical additions to Susan Sontag’s 58 Notes on Camp for large ensemble

an honest attempt at frank communication, in which two pairs of instruments try and fail to connect, for flute, clarinet, violin and cello

the final movement of my piano solo family photos, a neoimpressionistic depiction of a magical hillside road in Hastings

o’hara songs, three settings of Frank O’Hara’s poetry, in which the singer and pianist bounce between two roles (and two pianos)