• What excites you the most about conducting The Sound of Gaming concert, especially as it merges live orchestral performance with the virtual world of gaming?  

Conducting The Sound of Gaming concert was an incredible experience! What excited me the most about this concert was how it merged the beauty of the orchestra with cutting-edge technology. This brand-new way of reaching audiences, allowing viewers to explore, interact, and immerse themselves in a live orchestral performance, was truly revolutionary. It was thrilling to be part of something that made orchestral music more accessible than ever, inviting everyone, from seasoned gamers to music lovers to experience the magic of the orchestra in such an engaging and innovative way. This concert truly felt like the future of music performance, and it was an honor to be a part of it.

• Having composed iconic soundtracks for games like World of Warcraft, what do you think makes video game music resonate so powerfully with audiences worldwide, both in-game and in a concert setting? 

I think video game music resonates so much with the audience because it’s deeply intertwined with the emotional and narrative experiences of the game. It’s not just background music—it becomes a part of the player’s journey, enhancing moments of triumph, heartbreak, mystery, or discovery. When you take that music out of the game and bring it into a concert setting, it connects on another level. It reminds audiences of the adventures they’ve had, the worlds they’ve explored, and the stories they’ve lived through, while also letting people make their own personal connections with the music. That shared nostalgia and emotional connection give game music a universal power. It’s storytelling through sound, whether that be in a game or on stage.

• This event with BBC Radio 3 and the BBC Philharmonic is groundbreaking in its interactive, virtual format. How do you feel this new way of experiencing music could shape the future of orchestral concerts, especially for game music?

BBC Radio 3 and the BBC Philharmonic did such an amazing job on this event. Combining the power of live orchestral music with the interactive, virtual format opens up endless possibilities for the future of how we experience concerts. With this pilot project, audiences stepped into the music in a way that had never been possible before being able to attending as avatars, exploring the concert environment, engaging with the performance from the comfort of their homes, and even flying over the orchestra!

For game music in particular, this format felt like a perfect match. It mirrored the immersive worlds of gaming and made the music more accessible to people who might never have had the chance to attend a traditional concert hall. I think this kind of innovation will revolutionize how we connect with audiences, especially younger generations who were already so familiar with virtual environments. It’s exciting to imagine a future where orchestral music can reach anyone, anywhere, in such an interactive and engaging way.

• As someone who has composed extensively for games and conducted globally with leading orchestras, how do you approach conducting pieces that originated in a digital game environment for a live, physical orchestra?

When I’m conducting music that was originally created for a digital game, my focus is on capturing what’s written and translating the emotion of the music to the live orchestra. Game music is meant to be immersive and interactive, so on stage, I work closely with the musicians to make sure that same energy and emotion come through.

I think of it as storytelling—every melody, rhythm, and dynamic shift helps tell a bigger story that connects with the audience. A lot of people in the crowd have a personal connection to this music through their gaming experiences, so I try to honour that by bringing the same depth and intensity it had in the game to the live performance.

My goal is always to make the music feel just as epic and impactful live as it does in the game, while also creating a unique, shared experience between the orchestra and the audience.

• Your historic appearance as the first female conductor at the Oscars was groundbreaking. What impact do you hope this and your work in the gaming industry will have on inspiring young women in music and conducting?

Conducting at the Oscars was such a special moment for me, but also for what it represented. It was a chance to show women everywhere that it’s possible to be who you want to be, no matter the obstacles. I hope it inspired young women, especially in Ireland, to see that an Irish woman can achieve anything.

In the gaming industry, where I’ve had the chance to create and conduct music for millions of players, I hope my work helps break down stereotypes and encourages more women to step into leadership roles—not just in music but in any field they’re passionate about. I want young women to feel confident claiming their space in the world, shaping it into a place where everyone can thrive doing what they love, regardless of gender.