Ninety-Two: The Silent Revolt No One Saw Coming

Feature Documentary — Lead Composer

Ninety-Two chronicles a profound moment of collective awakening among Black women following the 2024 U.S. election — an inward uprising rooted not in protest, but in reclamation, reflection, and self-sovereignty. The film explores how personal healing becomes political, and how quiet acts of inner mastery emerge as radical forms of freedom.

Serving as lead composer, I have the honor of shaping the emotional language of this story through sound. My score weaves meditative textures, restorative frequencies, and cinematic motifs into the women’s testimonies — creating a sonic environment that holds grief, clarity, and fierce tenderness at once. Sound becomes a vessel for healing, remembrance, and revelation — carrying the pulse of resistance that lives in stillness and spiritual resilience.

This project reflects the heart of my practice: using music not only to underscore story, but to offer audiences a felt experience of transformation.

Stuck in the Mud at Night (Thomas & Friends, Season 26, 2023)

I co-composed the song “Stuck in the Mud at Night” for the beloved children’s series Thomas & Friends alongside La-Nai Gabriel, contributing to the Welcome to Sodor (Songs from Season 26) soundtrack. The piece blends playful melody with warm, guiding emotion to support the show’s storytelling mission of resilience, teamwork, and gentle problem-solving — introducing young audiences to optimism through song.

The track was arranged by Craig Carlisle and Peter Gaffney, and released through Gullane (Thomas) under exclusive license to Arts Music Inc. (Warner Music Group).

Defining Human (Short Film, 2023)

I served as lead composer for the short film Defining Human, directed by Vancouver-based filmmaker Dan Code, featuring my original lead single “I Love U.” The score blends industrial textures and mechanical tonal palettes, created through a healing-centered, intuitive composing process developed to mirror the film’s exploration of humanity within technological and emotional landscapes.

Faith Hei$t (TV Series, Bounce TV, 2022)

For the Bounce TV series Faith Hei$t, I served as co-composer alongside Iva Delic and Todor Kobakov, helping shape a score that bridges sacred resonance with narrative suspense. Through layered vocal harmonies, luminous choral arrangements, and deep tonal textures, we crafted a sonic landscape that moves fluidly between gospel-inflected reverence and heightened dramatic tension, underscoring both the spiritual stakes and psychological intrigue of the story.

Welcome, We’ve Been Waiting

Rodney Diverlus meets Toronto Dance Theatre (2022)

In Welcome, We’ve Been Waiting, I joined forces with co-composer Dillon Baldassero to craft the sonic world for Rodney Diverlus’ original dance work created with Toronto Dance Theatre. Together, we composed a score that moved alongside the dancers’ bodies — breathing with their gestures, anchoring the emotional arcs of arrival, remembrance, and becoming. The music served as a living undercurrent for the choreography, amplifying the work’s tenderness and intensity while holding space for collective reflection and release.

21 Black Futures (2022, CBC Arts)

For CBC Arts’ groundbreaking anthology series 21 Black Futures, I wrote and performed “Don’t Be Afraid,” the official theme song anchoring the project’s exploration of Black futurity, imagination, and self-determination. Co-produced with HMLT, engineered by Slakah The Beatchild, and featuring background vocals by THEBLKLT$, the track was crafted as an anthem of courage and becoming — a melodic invocation inviting audiences to move beyond fear and into possibility.

Learn to Swim (Feature Film, 2022)

For Learn to Swim, I wrote and performed two original songs in collaboration with co-composer Casey MQ, shaping the film’s emotional through-line through sound. One of those works, “And Then We Don’t,” emerged from my healing-centered composing process — using energy work and deep listening to channel the director’s personal story into a song that carries the film’s quiet ache and tenderness.

The track went on to win Best Original Song in a Feature Film at the 2022 Canadian Academy Awards, marking a career-defining milestone. In addition to composing, I also provided vocal coaching and training for the film’s lead actresses, supporting their performances so the music could live authentically within the story.

Program Sound FM (2021)

For Program Sound FM, a new radio platform amplifying Indigenous storytellers created by Bahia Watson, I collaborated with Casey MQ to compose both the theme song and broadcast bumpers, shaping the sonic identity of the program from the ground up. Drawing on my healing-centered “energy free-fall” composing process, I created a palette of vibrant tones that move fluidly through dancehall, reggae, soca, and pop-infused rhythms — crafting a soundscape that celebrates voice, movement, and cultural resonance across the airwaves.

Bright Eyes (Sci-Fi TV Series, 2019)

For the upcoming sci-fi series Bright Eyes, created by Lori-Ann Russell, I composed the show’s final theme and designed the entire sonic world of the series — crafting the atmospheric sound language that supports its speculative narrative and emotional tension. The closing theme, co-created with Victor Bongiovanni, anchors the series’ futuristic tone with a sense of wonder, vulnerability, and expansive possibility.

Misha (Short Film, 2019)

For the short film Misha, directed by Andrew D. Jeffrey, I co-composed the score with Iva Delic, crafting a sonic landscape designed to heighten the film’s ritual intensity and emotional suspension. Drawing on my healing-centered approach to channeled sound creation, I developed deep-frequency textures and seismic tonal shifts that give the witch-thriller its soul-stirring and ground-shaking sonic presence.

CALeb (Short Film, 2019)

For the suspense-thriller short CALeb, created by Ojibwe and Cree actor and director Ajuawak Kapashesit, I composed the full score to shape the film’s emotional and psychological intensity. Through an intuitive, channeled composing process, I developed resonant, gut-level sound textures that amplify the story’s tension, vulnerability, and visceral weight—allowing sound to function as an emotional undercurrent driving the narrative forward.