A pioneering initiative to transform music creation for people with complex disabilities has received a major boost after succeeding in a competitive CreaTech Frontiers funding round. Dyskinetic Ltd, led by electronic musician Kris Halpin, is one of 35 projects across the West Midlands awarded up to £10,000 each through the five-year, £7.2m programme funded by the Arts and Humanities Research Council.
The first round, worth £315,000, attracted more than 250 applications and highlights the region’s growing creative technology sector. Successful recipients, which include freelancers, microbusinesses and small – medium-sized enterprises, will receive six months of access to advanced facilities, academic expertise, mentoring and business support.
Accessible music innovation
At the centre of this cohort is Dyskinetic Ltd’s effort to build the next generation of accessible music-making tools. Halpin, who performs as Dyskinetic and is a long-standing advocate for inclusive music technology, is working with Birmingham City University to refine prototypes designed for musicians with profound physical challenges.
“I’m a disabled musician myself, so that experience led us on a journey of making music more accessible,” Kris said.
“There is some wearable technology already available, but it isn’t always appropriate or useful, particularly for those with complex disabilities. CreaTech Frontiers is giving us an opportunity to network and find people with skills that we don’t have so we can work together to create something incredible.”
Halpin’s work builds on his early adoption of Mi.Mu Gloves in 2014. He was the first artist to tour a glove-only live show and to use the wearable devices as an accessible instrument. He has performed internationally and collaborated with organisations such as Drake Music, known for its leadership in adaptive music tools. Dyskinetic Ltd, branded as radically inclusive music makers, aims to overcome long-standing barriers in music creation, particularly where traditional instruments disadvantage those with limited mobility. By working with BCU’s immersive audio specialists, the project is developing intuitive interfaces that support expressive performance without conventional physical demands.
Regional innovation strategy
The funding strengthens the West Midlands’ position as a designated Creative Industries Cluster under UK Research and Innovation. CreaTech Frontiers is led by Birmingham City University with partners including the University of Birmingham, Coventry University, the University of Warwick, the Royal Shakespeare Company and Digital Catapult.
“The creative industries are the heart of everything that as a society we should value,” said Professor Lamberto Coccioli, director of CreaTech Frontiers. “The West Midlands has so much talent, too, but a lot of small businesses work in isolation.”
“We want to ensure they don’t have to go to London to access facilities and technology because it’ll be on their doorstep. In the long term, we want to build an industry that is self-reliant and attracts investment from across the UK and globally.”
The programme’s interconnected R&D labs specialise in virtual production, applied AI for creative technologies, gaming, esports and animation. Industry collaborators include Vodafone, Rebellion and Holosphere, and partnerships with events such as SXSW in the USA and Ars Electronica in Austria extend its international reach.
Diverse and emerging technologies
The funded projects showcase a wide range of creative technology innovation. They include advancements in robotics for performance enhancement, LED fabrics for immersive theatre, virtual reality experiences, next-generation gaming mechanics, experimental live performance tools and sustainable creative production methods.
This diversity reflects the strong representation of young and ethnically diverse innovators among applicants, aligning with CreaTech Frontiers’ emphasis on ethical and inclusive sector growth. As Professor Coccioli stated at the programme’s launch in April 2025, it fills a critical gap for smaller organisations that often struggle to secure research and development grants.
Digital Catapult praised the programme’s national impact. “We recognise the value of providing deep tech startups with access to the facilities, expertise and capabilities necessary to enable them to scale,” said Laura Helm, head of creative industries at Digital Catapult. “This is why programmes like CreaTech Frontiers are of immense value to the UK’s creative industries and the economy more broadly, convening capabilities to advance the practical application of deep tech innovation in industry and equip the UK to be future ready.”
Supported by the West Midlands Combined Authority, the cluster seeks to contribute £65m and 1,500 jobs to the region’s creative content and gaming industries by 2030. Early demonstrations curated by the Royal Shakespeare Company will showcase prototypes at global forums, helping to increase exports and attract investment.
Halpin’s continued advocacy
For Halpin, the award recognises years of commitment to accessible music technology. His journey began with discovering adaptive tools on Twitter, leading to his role as a global ambassador for inclusive music making. “This is the first accessible technology that has the scope for virtuosity,” he has previously said about gesture-based instruments. “You can get good at it, and you can get really, really good at it.”
As creative technology continues to evolve, initiatives like CreaTech Frontiers are helping position the West Midlands as a leading hub for equitable and innovative development. The next funding call will open in early 2026.
