Before approaching the ‘Working in the Creative Industries’ assignment, our group sessions discussed at length the many attributes of a successful’ ‘Electronic Press Kit,’ for an artist. The topic that surfaced repeatedly was balancing versatility with a unique selling point for yourself in the music industry.

“Although I came from a classical background, I think its important that I promote myself as a pianist with a unique voice that can navigate multiple genres;” (Yazmine, pers. comm., 2026) asserts that in order to be in demand, you need to stand out and have a unique voice that also complements the musical setting that you happen to be in. In order to do this, you need to have promotional clips of your playing on social media; according to Will, “self promotion on social media like instagram is the best and possibly only way to get your individual voice out there and get noticed.” (Will Thomas, pers. comm., 2026).

In order to truly create an effective artist bio, you must have evidence of your proficiency on your instrument with written, visual and audial testimonies to back it up. As for the icing on the cake, contact information, gig notices, in depth explanations of ones ambitions and goals all make for a cohesive ‘Electronic Press Kit’ that promotes and plans a budding artist’s future trajectory in the music industry.

In showing my first draft for the Electronic Press Kit Assignment, the group had certain reservations about the presentation of my experiences and competencies. The group collectively agreed that the description of my past experiences of musical engagement both inside and outside of the Conservatoire lacked clarity and specificity. In order to rectify this, I then amended the photos with captions, and added direct examples of my experiences in the relevant sections of the Electronic Press Kit.

William (Billy) McClelland

As a Jazz drummer currently studying at Leeds Conservatoire, William has dedicated years to practicing and refining the art of limb independence, coordination, improvisation, and musical dialogue; the kind of work that, once developed to a consistent and professional standard, flows out effortlessly in live performance.

His journey into music began long before the conservatoire; growing up surrounded by the sounds of Jazz, Funk, and Soul, most often serenading dinnertime at his grandma’s house, he has developed an ear for the crucial elements that elevate music to a professional standard: the purposeful and deliberate use of dynamics, the collective agreement of time feel, the subsequent push and pull of that time, and how utilising open space in the music drastically changes the energy of a performance. This early immersion and subsequent curiosity laid the foundation for what would become a serious pursuit of music.

Achieving Grade 8 in drums proved a significant achievement in his timeline, but it was never the end goal. That qualification provided a positive technical basis, but the real education came from live performance: by attending late-night jam sessions, playing in dedicated bands inside and outside of college, and studying at length the records that defined Jazz music throughout the 20th and 21st century, William has learnt more from working in collaborative environments than a practice room or pre recorded music. Not to mention, his pedagogical experience taken up in the summers between school and university; his part-time employment at the local Dorridge music school proved invaluable in teaching him patience and perspective, allowing for a chance to reflect on the way to teach himself how to learn and understand music on a deeper level.

The achievement of Grade 6 in saxophone too adds another dimension to his musicianship, giving insight into the improvisational mindset of monophonic instrument players in Jazz and how to apply that knowledge elsewhere. His understanding how horn players phrase, breathe, and improvise allows William to be a more responsive and intuitive accompanist whilst informing his approach to improvisation on the drum kit.

Piano, his third instrument, adds an extra component of co-ordination to his musicianship. While not publicly recognised as a pianist, William’s study of Classical and Jazz piano has proven crucial for his compositions, arrangements, and understanding of the harmonic and melodic framework that defines Jazz. When spending time practicing chord comping in the practice room, William is able to internalise the harmonic rhythms of chord comping that he will later respond to instinctively behind the kit.

At Leeds Conservatoire, William has the privilege of studying with world-class educators and collaborating with some of the most talented musicians in the UK. Being in such an environment pushes him to refine his techniques, deepen his theoretical knowledge, and find his unique voice on his instrument. Through numerous university projects—ensemble performances, recording sessions, composition assignments, and collaborative works; William has developed not just as a player but as a qualified musician capable of contributing to every stage of the creative process.

Beyond the Conservatoire walls, William has been active in the vibrant Leeds Jazz scene and beyond, performing with multiple bands that span a broad spectrum of genres; from Jazz-pop cover bands to straight ahead Swing and modern Fusion, these live performance experiences have obligated him to work on multiple facets of music, including the visual aspects. Understanding how to engage with the audience via the support of and communication with fellow band members is what allows William to complement their playing; the audience’s reaction to the band’s collective energy is a product of accompanists facilitating a soloist with appropriate dynamic accompaniment, presenting on stage the sincerity of navigating unexpected moments that make live Jazz so captivating.

Whether driving a hard-swinging quartet through Coltrane changes, laying down a deep pocket for a Soul-Jazz ensemble, or exploring the textural possibilities of contemporary improvised music, William strives to bring the same commitment: to serve the music, to support fellow musicians, and to create something meaningful in the moment.

Media

Promotional Photos

Video

Reviews and Testimonials

“Billy McClelland is one of the most promising drummers I’ve worked with at the conservatoire. Billy has an acute ability to listen and react appropriately to the situation at hand, the kind of intuition that takes years to develop with band members.” – Adam Bungay , Leeds Conservatoire

“Every time we play together, I’m reminded why having a competent drummer is so crucial to the creative process. When the time-feel is solid, and the dynamics appropriate for the setting, there’s a veritable energy in the band that glues everyone together.” – Robin White, Chinese Elephant

“We’ve had Billy perform saxophone with the Shed Men Walking at our venue multiple times, and the feedback is always the same: audiences truly resonate with that energy and authenticity.” – Dave Lewis, Skogen, Dorridge

Skills, Strengths and Experiences

Experience Highlights

• Leeds Conservatoire Projects: Extensive participation in ensemble performances (E.G. Dave Shuttleworth 3rd year recital), recording sessions (depping for Reigan’s recording project), composition workshops, and interdisciplinary collaborations throughout my studies (Tap Jazz Jam)
• Multiple Jazz Bands: Regular performance experience with various ensembles outside the conservatoire, spanning different stylistic approaches and performance contexts: such as “The Credits,” “Chinese elephant,” and “Shed Men Walking”
• Live Performance: Comfortable on stages ranging from intimate Jazz clubs to larger concert venues, with experience in festivals (Solihull Music Festival), private events, and regular residencies
• Recording: Familiarity with studio environments, click tracks, headphone mixes, and the particular demands of recording versus live performance
• Collaboration: Proven ability to integrate into existing groups, learn repertoire efficiently, and contribute positively to band dynamics

Distinguishing Strengths

What makes me unique in relation to drummers in the field is the combination of formal “sheet music” education developed in tandem with a responsive ear. Although I initially started with a strong grounding in sight reading and interpreting sheet music (both in school ensembles and for grades) I have worked to develop my active listening to the same standard. In aid of these facets of my musicianship, the conservatoire teaches me to apply theory, to see multiple perspectives to improvising, and it gives me the tools to refine my technique, all whilst guiding me to find my unique voice in the art-form. The bandstand however compels me to work on pragmatism, adaptability, and the ability to thrive under pressure in live settings.

Musical, Creative and Technical Skills

Musical Skills

• Drums: Grade 8 certified; comprehensive kit technique including brush work, mallet playing, and conventional techniques; strong time feel across tempos from ballads to up-tempo burners
• Saxophone: Grade 6 certified; working knowledge of Jazz saxophone vocabulary and phrasing; useful for composition and arrangement
• Piano: Functional harmony skills; chord voicings and comping; valuable for composition, arrangement, and harmonic analysis
• Ear Training: Strong relative pitch; ability to transcribe and learn material by ear; quick adaptation to unfamiliar repertoire
• Sight-Reading: Comfortable reading drum charts, lead sheets, and more detailed notation at sight regardless of misleading charts
• Improvisation: Fluent across Jazz styles; comfortable with both structured solo forms and free improvisation

Creative Skills

• Composition: Experience writing original material for small Jazz ensembles; understanding of conventional and non conventional form, harmonic rhythm, and melodic development
• Arrangement: Ability to create arrangements from lead sheets or recordings; understanding of multiple voicings, dynamics, and ensemble texture
• Conceptual Development: Capable of contributing to the artistic direction of projects; experience developing repertoire and concert programmes

Technical Skills

• Recording Studio Familiarity: Comfortable in studio environments; understanding of microphone placement, headphone mixes, and studio workflow
• Music Technology: Working knowledge of DAWs and music production basics; ability to create demos and work on collaborative projects remotely
• Equipment Knowledge: Understanding of appropriate drum hardware, tuning, and cymbal choice for different musical contexts

Interests and Ambitions

Musical Interests

My listening reaches well beyond the generic ‘Jazz in the Background’ playlists commonly found on conglomerate music platforms. I’m particularly drawn to the work of drummers who have shaped the role of the instrument in Jazz: the Bebop grounded melodic approach of Roy Haynes, the clean and controlled though explosive energy of Tony Williams, the rudimental mastery of Philly Joe Jones, and the modern stroke of Brian Blade. I am however just as easily influenced by pianists such as McCoy Tyner, Horace Silver and Herbie Hancock, and saxophonists like Paul Desmond, Stan Getz and Cannonball Adderly; I understand that Jazz is a language comprised of multiple innovative voices that have a unique contribution to the sphere of improvised music.

Beyond Jazz, I maintain active interest in and practice of related genres that feed back into my primary work: the rhythmic complexity of Afro-Cuban and Brazilian music, the pocket and precision of classic soul and funk, and the timbral exploration of contemporary improvised music. These influences expand my vocabulary and keep my playing tight and consistent.

Ambitions

Short-term Goals

• Complete my studies at Leeds Conservatoire
• Build a presence as an up-and-coming Musician in the UK Jazz scene through networking and pick up regular performances
• Develop original material for a debut project that pays homage to my favourite musicians and represents my artistic vision
• Expand my network of collaborators and build lasting musical relationships

Medium-term Goals

• Establish myself as a first-call drummer for Jazz gigs in the North of England and West Midlands
• Record and release original music that contributes meaningfully to the contemporary Jazz conversation
• Tour Locally with established artists and for my own projects
• Develop as a bandleader and composer while maintaining my skills as a sideman

Long-term Vision

• Build a sustainable career as a professional Jazz musician encompassing performance, recording, composition, and education
• Contribute to the development of Jazz in the UK through composition, mentorship and community engagement
• Create a body of recorded work that reflects my artistic development and influences future musicians
• Maintain the passion and curiosity for Jazz throughout my career
• Tour Nationally and Internationally, playing with the established Jazz greats of today’s era

Social Media, Streaming and Web Presence

Social Media

• Instagram: bill_music_drums_296276
• Facebook: Billy McClelland
• YouTube: @billymcclelland5785

Professional Contact

For booking enquiries, press requests, collaboration proposals, or general information:

Name: William Brooks McClelland

Email: wbm210@gmail.com

Phone: +447483248115

Location: Leeds, UK (available for engagements nationally and internationally)