Tim Scott

Overview

Tim Scott has achieved a rare balance in the world of instrumental guitar music—fusing contemporary dance and pop production with virtuosic guitar playing. His signature sound blends electronic textures with emotionally driven, melodic guitar lines, resulting in music that’s both innovative and deeply relatable. Every track is written, performed, and produced from the ground up in the home studio he built himself—a true solo artist in every sense.

 

Early Life and Musical Roots

Born on September 21, 1971, in Hazel Grove, South Manchester, Tim's musical journey began at the age of six, composing melodies on the upright piano in his parents’ front room. His father played organ pieces by J.S. Bach, while his mother sang in choirs—planting the seeds of a deep musical appreciation from an early age.

Inspired by a wide spectrum of artists—Eric Clapton, Vivaldi, Joe Satriani, Andrew Lloyd Webber, Miles Davis, Yes, and Toto—Tim developed a rich palette of influences, which he moulded into a unique sound through tireless experimentation.

 

Early Musical Pursuits

At 14, Tim convinced his parents to buy him an electric bass. Without an amplifier, he improvised by running it through a homemade hi-fi kit. Within six months, he switched to electric lead guitar, selling his Lego and anything else of value to fund the purchase.

On the first day he got his guitar, he played for 11 hours straight. His fingers were too sore to play more than two hours the next day—but he was hooked. What captivated him most was improvisation—making music in the moment. He began crafting backing tracks on a reel-to-reel tape recorder and jamming over them, obsessively chasing melodies that “just felt right.”

 

Debut Album and Breakthrough

In 2000, Tim made a decisive move—quitting the cover bands he’d played in to focus solely on his own music. The result in 2003 was his debut album, “Bald On The Inside”—a bold fusion of funk, rock, Latin jazz, and blues. The album was well received, and his track “4am and I Can’t Sleep” was featured on the cover CD of Guitarist magazine in 2004, gaining him national recognition in the UK and wider guitar community.

 

Ibiza Sunsets and Trance Anthems

Between 2005 and 2012, Tim frequently performed in Ibiza alongside famous DJs and also on several occasions for BBC Radio 1’s Ibiza Weekend. Immersed in the energy of the super-club fraternity, he began integrating smooth electronic elements into his own music, layering in his Latin-infused guitar improvisations. This period defined his signature fusion of live instrumental virtuosity with various electronic dance music genres.

 

The Abbey Road Studios Experience

Tim’s 2008 album “Guitar Mashing” marked a new level of production ambition—it was his first release to be mastered at Abbey Road Studios, working with the world-renowned mastering engineer Geoff Pesche. What began as a personal challenge to raise the bar became a long-term creative and educational partnership; Tim continues to work with Geoff on all his projects to this day.

 

Superclubs, Dance Festivals and Ibiza Adventures

The album “Ibiza Mayhem Twenty Twelve” is drenched in memories of dancing till dawn and heading straight from the club to the beach. Every note and string vibrato captures the emotional highs and lows that only a holiday in Ibiza can deliver. First released in 2012, the album was warmly received by the UK guitar press, praised as a fantastical crossover of virtuoso shred guitar and club beats—no disco pharmaceuticals required to appreciate its energy. Infectious dance rhythms meet catchy riffs, vibrant melodies, funky bass lines, and live percussion in a way that celebrates both musicality and nightlife.

In 2014, Tim followed up with “Ultimate Miami Dance Guitar”, inspired by the electrifying atmosphere of Miami’s annual Ultra Music Festival. With an uplifting EDM spirit, the album features the viral hit “Magnesium Black”, known for its high-octane hooks and festival-ready feel.

Then in 2017 came “Scott Mashing”, a genre-blending release fusing pop and dance with a broader musical palette. It includes acoustic versions of the jazz-inspired “Bank” written in part when he lived in London, and eclectic rearrangement J.S. Bach’s “Prelude in C”, a tribute to Tim’s father’s favorite composer. Marking a shift away from the pure club sound, the album still retains a powerful kick—especially in “Bora Bora Space Junkie”, which gained viral attention after Tim’s loop pedal performance hit YouTube in 2020. The track continues to resonate with fans around the world, particularly in Japan.

 

Relentless Experimentation

Tim’s creative philosophy is built on constant evolution. He refuses to be boxed in by past successes or musical expectations. Every new release pushes into unexplored territory, as he blends genres and sounds in unexpected ways.

“I’m almost afraid to stand still,” he says. “The moment I feel safe, I know I’m not pushing myself or creating something new.”

 

The Pandemic Shift

While the pandemic was a dark time for many, Tim used it as a catalyst for reinvention. He focused on refining his identity—both musically and personally. During this period, he met his wife. Within a whirlwind year, they started dating, got engaged, married in Scotland, and relocated to Germany. Her presence has had a profoundly positive influence on his life and music, inspiring a new creative chapter filled with greater emotional depth and clarity.

Now, Tim performs his own music almost exclusively in acoustically stunning venues like churches, theatres and art galleries, creating intimate and immersive concert experiences.

In 2020, Tim released the album “88025” named after the serial number of his Limited Edition 1988 “Blue Jean” of his Jackson Dinky Stratocaster. One of the standout tracks, “Summer”, had its live debut at O'Neill’s on Wardour Street in Soho, a venue steeped in musical history where legends like The Beatles and The Rolling Stones once took the stage early on in their careers.

 

Radio, Recognition & the Pursuit of Perfection

Since moving to Germany, Tim’s music has gained international attention, with regular radio play in multiple countries. He continues to evolve his sound, balancing highly polished production with the organic, human energy of his signature sound.

Crafting something that stands out while preserving the original flair, dynamic energy, and emotional passion in every note is always a challenge — but making that translate perfectly on the radio and streaming platforms? That’s nothing short of a sonic miracle. But for Tim, that’s where the real magic happens. Ensuring that none of the recorded performances emotional-energy is lost.

In 2023, Tim released his self-titled album “Tim Scott”, featuring the first song he wrote after arriving in Germany, “Escape to Paradise”. The track captures his desire to leave behind the negativity of his hometown and marks the start of a freer, more independent chapter in his life—his fledgling adulthood. The album also features the infectiously catchy “Roller Skating”, showcasing Tim's signature blend of vibrant energy and melodic flair.

 

Social Media & Viral Moments

During the 2020 lockdown, Tim began performing live sunset sessions from his balcony—one of which featured his track “Magnesium Black,” which went viral across several platforms. His track “Roller Skating” has been widely popular as a soundtrack on instagram, facebook, snapchat and TikTok.

 

Jacko’s Jailhouse & Dyslexia: Fuel for the Creative Fire

Tim’s high school was nicknamed “Jacko’s Jailhouse,” and it often lived up to the name. Struggling to fit into the rigid system, music became his lifeline. His dyslexia—unrecognised at the time—presented academic challenges, but he now sees it as a creative gift.

Rather than holding him back, dyslexia shaped his resilience and unique perspective, making him more empathetic to others and exceptionally creative; both of which have become core strengths in his artistic journey.

 

Conclusion

From home studio beginnings to Abbey Road mastering sessions, Ibiza super-clubs to candlelit cathedral concerts—Tim Scott’s journey is one of fearless innovation, emotional expression, and relentless experimentation.

His music is best described like this: Picture yourself on a beach in Ibiza at sunset—cocktail in hand, the sky awash with orange and pink. Chill beats pulse in the background as soulful guitar melodies wrap around you, pulling you into a moment of pure, uplifting escapism. It's the soundtrack to letting go, swaying with the breeze, and getting lost in the rhythm of the now.

Awards

“Scott is a genuine innovator”
CityLife
 

“Tim Scott breaks boundaries by mashing his guitar mastery with chilled Ibiza sounds.”
Total Guitar

“Ultra funky Latin guitar rock”
Musician

“Outstanding”
Guitar Techniques

“World-Class stuff” “Expressive, shred-vibed guitar set to dance beats”
Guitarist magazine

“Guitar Man Tim Wows Ibiza Crowds”
Manchester Evening News

Gear

TECH RIDER & FOH SPEC – TIM SCOTT

Solo Instrumental Guitarist – Occasional Vocals and speech between tracks – Backing Tracks via Pioneer DJ Decks or hi-res Walkman when DJ Decks are not available.

Stage & Equipment Requirements

• Stage space: Minimum 2 m² clear area.
• Stereo guitar rig requires: 2 active DI boxes (L & R).
• Vocal mic: Boom stand, centre stage (SM58 or Beta 57 A).
• Guitar stands: 1 acoustic, 1 electric (When available).
• DJ decks: Pioneer units compatible with Rekordbox USB export (.wav only), on table stage right.
• Preferred: XDJ-RX2, XDJ-RX3, XDJ-XZ, CDJ-2000NXS2, CDJ-3000 (or other Rekordbox-compatible). When no decks are available I will use a hi-res Walkman.
• Cabling: Venue to supply all necessary XLR/TRS cabling from DI boxes & decks to FOH. A power strip and two-euro mains leads to power guitar effects (minimum 3m long) from centre stage position.

Ch. Source Input Type Notes

• Ch, 1 Guitar L DI (active) All FX from pedalboard, flat EQ at FOH.
• Ch. 2 Guitar R DI (active) Same as Ch. 1.
• Ch. 3 DJ Deck L Output XLR/TRS Full-range stereo track.
• Ch. 4 DJ Deck R Output XLR/TRS Same as Ch. 4.
• Ch. 5 Vocal mic XLR Clear, minimal reverb.

FOH Mix Preferences

• Guitar: Forward in mix like a vocal but smooth tone, stereo in FOH.
• Backing Tracks: Wide stereo, has a strong low end.
• Vocals: Clean, intelligible, subtle short reverb if needed.
• EQ adjustments only for room correction — guitar tone / effects are handled on stage.
• No compression/normalising on backing tracks or guitar DI’s

Monitoring

• Ideally - 2 wedges L and R stereo foldback (separate aux sends from L/R Ch.’s) positioned slight left and right of centre stage performance area.
  - Mix: Guitar (preferably stereo - or mono sum when only one monitor is available) guitar slightly above backing tracks, vocal mic not too loud.

Soundcheck

• Show set up time 25 minutes from stage side
• Minimum 10 minutes to soundcheck, levels, and monitor mix.