Dan Berridge / Broadway Broject Official Biog 2016

I am a composer and producer working and living in Bristol, UK. I have been recording and releasing albums as “Dan Berridge” and “Broadway Project” for over 10 years and more recently in the past few years for Film  commissions, composing for a number of up and coming directors.

I also continue to compose music for TV Ad campaigns. Over the past few years my work has appeared all over the world.

As I see it, the music I write sits in two camps, reflecting the demands for my work as much as my own peronality and tastes. Let it be known that my heart lies in creating “futuristic widescreen soul” music!


Credits include work for Andrea Arnold, Duane Hopkins, featuring
Vanessa Redgrave, Mahmoud Darwish, Jean Rochefort, Irrfan Khan, Jan
Wiig, Anne Grete Preus, Gila Almagor.

“Flickan (the Girl)” (Feature, Sweden 2009) Directed by Fredrik
Edfeldt. Starring Blanca Engström, Shanti Roney, Leif Andrée. The
story of a ten-year-old girl left alone in her house in the summer of

“Identity of the Soul” (Feature, Norway 2009) Directed by Thomas
Hoegh. Starring Vanessa Redgrave, Mahmoud Darwish, Jean Rochefort,
Irrfan Khan. The story of Terje Vigen based on Henrik Ibsen’s famous
poem, through the medium of a 5 screen outdoor cinematic performance.

“Better Things” (Feature UK 2008) Directed by Duane Hopkins. Starring
Tara Ballard, Betty Bench, Frank Bench. A group of young people grow
up together in a small, rural community in the Cotswolds.

“Here is Always Somewhere Else” (Feature Documentary US, 2007)
Directed by Rene Daalder. This is the epic story of the life of the
artist Bas Jan Ader culminating with his loss at sea in 1972.

“Dog” (Short UK 2002) Directed by Andrea Arnold.


Broadway Project was formed in 2000 in Bristol, UK. Signed to originally to Memphis Industries (London) and then to Grand Central Records (Manchester), the music was a reaction to the perceived blandness and lack of sincerity in most sampled music at that time. It became much more and snowballed into an effort to capture something epic and emotionally nourishing into the cut and paste hip-hop sampling ethos.

Now the music has naturally evolved from Soundtracking the imaginary to the real. The samples have gone, but that earthy timelessness remains.

Dan’s albums were consistently being called “cinematic” and “wide-screen” and he found that he had a sympathy for narrative, making the transition to scoring music for film a natural and easy progression.

But the music Dan writes is not about Hip-Hop, it’s not Electronica, not Rock, not Dance, not Jazz, not Classical. It sits somewhere between all of these. A happy outcast. And a timeless one at that.


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