I think I can only help to expose percussion to all sorts of people. The balance between the lighter and more serious side is important.

Percussion is the most adaptable family of instruments. The biggest challenge is to project percussion in a lyrical way.

I try to plant myself where I am and embrace what is there in front of me.

Hearing is a form of touch. I could hear less through the ears but more through the body.

And as I grew older, I then auditioned for the Royal Academy of Music in London, and they said, well, no, we won't accept you, because we haven't a clue - you know - of the future of a so-called 'deaf' musician. And I just couldn't quite accept that.

I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.

A large part of my work has been collaborating with composers; I think we've commissioned about 140 pieces now, a lot of them percussion concertos.