The quiet revolution of Jess Lewis

Some musicians chase fame like moths drawn to stage lights. Jess Lewis built something different—a sound that moves like tides, shaped by autism's rhythmic gift and busking's honest demands. From Portsmouth street corners to Steve Vai's silent endorsement, her journey flows against industry currents. Mathrock precision combined with emotional depth. Jazz standards intertwine hip-hop beats. Technical mastery becomes pure communication. This is how artistry grows when convention can't contain it.

Steve Vai doesn't caption endorsements. When he posted Jess Lewis's "Die to Live" cover, silence said everything about this mathrock pioneer's extraordinary talent.

Lewis cultivates Portsmouth like tending rare coastal gardens. Thirty-one. Autistic. A childhood that should have broken her instead grew something extraordinary—a unique voice in the mathrock scene that's also reshaping contemporary jazz fusion.

Video games planted the first seeds of her musical journey. "As a child I taught myself, finding an interest in music from video games I'd played. Before playing guitar I actually had an old keyboard my dad had given me and I'd flick through the sounds and just play away to zone out from the chaotic home life around me." That old keyboard became safe harbor against stormy weather, eventually leading her toward the complex rhythms and harmonies that define modern mathrock.

"Guitar was the only escape from my home life."

Her compositional method follows ocean rhythms, blending jazz fusion's sophistication with mathrock's intricate structures. Guitar tunings shift like seasonal tides. No predetermined shores.

"I never know when I've finished a composition. Because of the nature of the tracks they end when they feel they should. It's all about the feel of the work rather than strict composition or planning to a preset template or genre."

The Rotary Club opened new currents toward guitar mastery.

Summer guitar school became watershed moment. Week-long immersion. The first glimpse of Guthrie Govan's fluid mastery bridging jazz fusion with progressive rock territories. "I was lucky enough to be taken to a week-long summer guitar school, funded by the Rotary Club. This is the first time I saw Guthrie Govan play, he did a master class there." Social isolation met technical revelation like deep water meeting shallow shore: "I didn't really talk to anyone due to my autism and I'd only been playing about 3 years at that point... I didn't know any theory so found the guitar work difficult and it was quite a strange experience. The best part was just seeing Guthrie play, I'd never seen anything like that live before."

Seeds scattered by winds, taking root slowly in the fertile ground between jazz fusion complexity and mathrock innovation.

JamTrackCentral discovered her at sixteen—four years into guitar, already their most-watched artist through organic growth. "Jam tracks picked me quite young, at 16 years old. I'd only been playing for 4 years at the time. A lot of what I played was covers and I hadn't yet had the chance to develop my own style." Now she collaborates with legends while others navigate traditional musical pathways, establishing herself as a unique voice in contemporary jazz and mathrock. She has her sights set on many more genres to come.

"Seafoam" emerges like perfect storm systems, showcasing Lewis's distinctive approach to mathrock composition enhanced by Marco Minnemann's legendary drumming prowess. Marco Minnemann's percussive waves support harmonic explorations that breathe with deep sea depth, creating a collaboration that elevates contemporary mathrock to new heights. This is mathrock with natural pulse, where coastal heritage flows through every measure:

Technical precision serves emotional delights in this mathrock masterpiece featuring Marco Minnemann's intricate rhythmic foundation that defies conventional genre boundaries.

Genre boundaries dissolve like salt in water in Jess's evolving sound. "It's hard to say why I've jumped into the new genres I have. I suppose I wanted to get away from covers and write something of my own style I guess. I think I've found that in Seafoam and Andromeda, almost math rock but not quite. I've always liked Jazz too and that seems to blend well with Hip-Hop and I suppose I'm just experimenting with new sounds and whatever resonates with me. There's no specific sound or genre for me anymore."

"Lazy Daydream" flows against expected currents, demonstrating how jazz fusion principles can merge with hip-hop production. Her "delicious chord stuff" weaves through urban rhythms like streams finding ocean. Tom Misch comparisons surface naturally in comment threads, recognizing her jazz fusion sensibilities wrapped in contemporary production—a natural evolution from traditional mathrock structures.

Academic achievement through patient cultivation: first-class Jazz degree from University of Chichester despite daily social navigation challenges. Formal jazz fusion education flowing alongside street-learned intuition like parallel waterways eventually converging, informing her innovative approach to mathrock and composition in general.

Stage presence distilled to essence—no theatrical gestures, no crowd-working flourishes. Entirely camera shy. Technical execution carries all communication, refined during busking years when jazz standards had to speak clearly or audiences would pass like driftwood.

This minimalist approach perfectly suits mathrock's emphasis on musical complexity over visual spectacle.

Jess co-founded Phase B Records. It nurtures artists with complete creative autonomy—the freedom Jess values above all else. No industry interference, no creative compromises. Business model grown from understanding artists need space to create without the cage. All grown from understanding creation without industry shelter.

The creative pipeline swells with new projects. "Jazz Crash" brings together Jairus Mozee, Marco Minnemann, Rich Muskat in genre-crossing collaboration. New album already taking shape, featuring "Jazz Crash," "401X," "Lazy Daydream" as cohesive artistic statement flowing beyond "Seafoam's" math rock foundations.

Her new single - yet another departure from her usual Mathrock style 'Glitch' is out on all platforms Friday 11.7.2025!

The creative pipeline swells with new projects exploring the intersection of mathrock, jazz fusion, hip-hop and many more to come. All anchored by her ongoing collaboration with drumming virtuoso Marco Minnemann. "Jazz Crash" brings together Jairus Mozee, Marco Minnemann, Rich Muscat in genre-crossing collaboration that pushes beyond Jazz boundaries. New album already taking shape, featuring Marco Minnemann's rhythmic innovations on tracks like "Grandad's Song" and many more as cohesive artistic statements flowing well beyond "Seafoam's" mathrock foundations into uncharted jazz fusion territories.

The Lewis-Minnemann partnership represents a new paradigm in contemporary mathrock, where European precision meets British coastal intuition through Marco Minnemann's internationally acclaimed expertise.

Victorious Festival 2025: "Seafoam" performed live for the first time, bringing Lewis's unique mathrock vision to Portsmouth's Southsea seafront where land meets water. Queens of the Stone Age, Vampire Weekend, Kings of Leon sharing the lineup. Hometown venue providing a perfect launching point for mathrock that transcends traditional progressive music categories.

This is departure. Live show number one...

Authenticity flows through every aspect of Jess's musical ecosystem, extending beyond composition into the very instruments that shape her sound. Her partnership with Hawk Picks represents more than mere endorsement—it's recognition of shared values where craftsmanship meets artistic vision. The bespoke pick company understands that precision begins with the smallest details, much like Lewis's approach to mathrock where every note serves emotional purpose.

Her musical philosophy resonates clearly: "My aim is to make people happy with what I create, to enjoy producing the art & music itself, through sound waves & colour." This artistic vision requires instruments that can translate complex internal landscapes into tangible sound.

Her growing alliance with Magneto Guitars reveals deeper currents of artistic alignment. The company's philosophy mirrors her own: "A superior instrument will create better connection to your musical sensitivity" and "great design is nothing without perfect execution in construction." (Eric Gales) Each handcrafted instrument becomes extension of artistic intention, built by luthiers who understand that surface beauty must serve musical truth.

The relationship extends beyond mere equipment—it's partnership between makers who understand that authentic expression requires tools designed for artists who refuse compromise. As Magneto states: "Magneto guitars are made for artists; arts shall speak the truth." (Eric Gales). For Lewis, whose autism shapes unique approaches to rhythm and harmony, instruments become crucial interfaces between internal musical vision and external communication. The partnership represents shared commitment to craftsmanship that serves artistry rather than marketing, building relationships that grow like her music—organically, authentically, without predetermined shores.

Find out more about Jess and the picks she love here at HawkPicks.co.uk, we use them ourselves here at Phase B Records and they rock!

Go check out the rest of the world class range from them over at MagnetoGuitars.com

The album 'Seafoam' was recorded using her pair of custom built JJ Guitars, which she also cherishes! Handmade in England. Go find out more about these over at JJGuitars.com

New supporting band ready to translate complex mathrock compositions into live energy. International stages calling like distant shores. Countries, festivals, venues where her precision meets emotional authenticity in the evolving world of modern music. Technical mastery serving deeper communication, like lighthouse signals across dark water.

From street corners requiring jazz eloquence to global stages where mathrock artistry shapes conversation. Each busked jazz standard, each collaboration with legends like Marco and Mozee builds toward connection that transcends categorical thinking. Lewis aims deeper than genre: communication that endures when everything else shifts with time, establishing her as a vital voice in contemporary mathrock's continued evolution alongside world-class collaborators like.

The artist who learned music as sanctuary now prepares to share that language across wider waters, carrying the torch for a new generation of mathrock innovators who refuse to be confined by traditional musical boundaries, supported by the rhythmic foundation that only a drummer of Marco's caliber can provide..

We chose not to focus entirely on the past here, and instead find out about the now and the future for Jess.

"When I left home at 17 for college and so on, busking was my main way to earn a little and get in some practice, mostly improvisation over several jazz backings. Busking had no influence on my Mathrock composition as it is generally a thought out process and not improvised. However all the playing and outdoor practise was potentially useful towards the jazz vibe tracks that I have written / released and upcoming jazz style releases. The mathrock if that's what the genre is, is just a way to play out my bad days, tune the guitar to something I wouldn't dislike - because I started to loathe the jazz stuff at the time - and find a riff that ment something or triggered an emotion to pursue the idea."

"I don't think about genre, nor complexity, it if feels and sounds right to me, to go to a riff or phrase then I will, it will, I'm not too concerned about playing flashy even if it appears to look complex for the odd flattery bits. Some of the songs are quite simple it's just the stretchy chords and weird tunings that are my nemesis now.. especially to play this live!"

"I don't have a specific tuning in mind, though some may end up similar, the same or completely a pain and break a string, but if it resonates at the time and an idea falls together with it I'll roll with it. If not I'll change the tuning again until something else happens."

"There is a song for my grandad and Marco did a fabulous drum track on this, life's been busy but that is my next track in that type of genre to finish. Along with separately, a track called Jazz Crash which is more electro jazz and abit hectic. I don't stick to just "Mathrock" and although I do intend to write a 2nd - mathrock/jazz/folk mix whatever you want to call it - album after all the jazz tracks, I'd prefer to keep it open on genres and have fun playing whatever comes up."

"When I was a kid I would use music to block out the difficult situations in life. Music has always been a way to escape reality somewhat. When I enjoy and get into writing a composition it's often the same, for example the Seafoam album, some of the tracks/ideas would have initially been written on a bad day and it simply is a distraction for me from what has drained my energy that day, or social anxiety over the lack social abilities thus leading to further low mood and low confidence.

Composition at that point is a pick me up, a way to put out the noise and anxiety in my head and settle it with creation."

"I don't understand what you mean.

Play what you love, write music from the heart. Do whatever music you like, and feck genres, and anyone that tells you that you can't do a thing - including yourself. Music is perceptive just like art, good music is good music. Create because it means something to yourself personally. I'm not certain what are the traditional career paths." 

"The music I lean towards to write I am uncertain of the genre. Mathrock is the closest to call it, mixed with folk and some modern jazz elements. 

After study, I still can't read music and everything is still largely by ear. It has helped in a sense that I can use the little knowledge I did grasp to write tablature and notation guitar books for my original music so that was a good outcome for doing the education side despite I can only read the tab and not the notation. Other than that, I don't fully understand the question. These are not easy for my literal brain and the repeating word Mathrock is well..."

"Every genre has complexity of its own. It's modern jazz and hip hop.. probably some other genre that I have no clue what's called either.. who knows.

This was written in a happier mood and a different approach to the other stuff. The main melody first popped into my head, recorded it midi on the keyboard into logic and played the chords after and the rest around it.. guitar came later.

Some of my favourite musical influences are Robert Glasper, Cory Henry, Incognito, Butcher Brown. And whatever else that has that sound."

"Nothing but love for music and creating something new.

This would be for the track Jazz Crash.

Have always loved Jairus Mozee's guitar playing since my dad showed me his stuff on YouTube when I was 11. He kindly played some awesome bits in the middle of the track. Always a blessing to have Marco play kit on any song."

"The Aristocrats, Chon, Animals as Leaders, This Town Needs Guns for definite as they're my favorite - favorite band and they kicked off my original love for the Mathrock genre especially Tim Collis's guitar work.. Neverpresent.. erm..need more time to think.."

"Lars these last two questions I can't bloody answer. I'm getting tired of the mathrock questions..

Can you stick in a question on how did Marco join on the Seafoam album as that ties in a little context into past but not too much to piss me off.

 And what music gear I am using. As I can then mention some cool stuff?

Or any question to lead to encouraging of others or something.." 

"I finding the whole questions thing stressful enough.."

"Definitely my Magneto guitar, specifically the U-Wave Deluxe in Sonic Blue. I stumbled upon this brand of guitar when visiting my fiancés folks a while back. And I was genuinely impressed. I had never owned or played many guitars with the DynaSonic Pickups style, and fell in love with the sound and playability of this guitar. I am looking forward to performing my own music live with this instrument and hopefully building more of a musical relationship with Magneto (also.. I hope they create a 7 string some day!). I also prefer a mid range cost instrument because I'm too nervous to take anything expensive to play live and have around to just pick up whenever. So for me this one is perfect. I'm keen to try more of their guitars in future! 2nd, JJ guitars. Handmade and beautiful yet again, I primarily used JJ guitars for recording my Seafoam album. Jeff at JJ has always been kind and helpful and makes some lovely instruments. 3rd, Ibanez AZ - this guitar plays beautifully. I no longer own any Ibanez guitars but this one if I could go back in time and knew better I'd have kept hold of."

"Also.. on the topic of music gear, I can't recommend Hawk Picks enough.. they are another level of awesomeness. I generally play fingerstyle for my mathrock stuff, but everything else I use a pick for - they are my absolute go to."

"When I was 15 I went to a week long guitar school called IGF (International Guitar Foundation). I saw Guthrie Govan perform for the first time and was blown away with his approach. After, I researched him online and I found music for Guthrie Govan and Alex Hutchings available to buy and learn on JTC, which, at the time was called Blues Jam Tracks. I recorded from home on a terrible old laptop camera and later was invited by Jan Cyrka the founder of JTC (I am very grateful to him to have met these cool people from this experience) to record some covers of their music with JTC. Guthrie since plays with his band The Aristocrats, which another song I learnt to record at JTC "Get It Like That" - Marco Minnemann had composed. They have always been kind and across the pond kept in touch and offered a ticket to see their gigs when local/UK. When I heard my songs with drums for the first time I couldn't put into words how excited and happy I was.

I wouldn't have asked if it wasn't for my friend George Greaves -RIP- who suggested my tracks needed drums - I was nervous to ask and George insisted I should, and I did and couldn't believe he said yes. I am looking forward to more to come!"

George Greaves also played a stunning guitar solo at the end of my track 'Sunshine in a Bottle'- on the album 'Seafoam' - for which I'm eternally grateful for.

"Yeah sure! Collaborators include Marco Minnemann drums, Richard Carter drums, Jairus Mozee guitar, Rich Muscat saxophone, Lars bass, Dan Bierton (Diamondback Kid) rap, Tommy Brown rap, Jonathan Fashole-Luke (Jayefel) keys. I did some additional keys, bass and vocals aside the guitar, possibly more to confirm as it's unfinished - this is the electro jazz - slightly weird album that has no name as of yet. For years I thought I couldn't do what I wanted to do musically whether that is past experiences to play causing anxiety to carry on. However, here we are, somewhat late, with all the expression and feelings spewing out through music that had already resonated at a time I didn't feel able to. I have a 2nd mathrock style album planned in mind with more weird tunings to each song, with a mix of remaking some early ideas from EP 1 and new ideas. Will also terrifyingly be playing my Seafoam album live for the first time at Portsmouth's Victorious festival this year 2025, with Lars on bass and a guest drummer, with more to come after I hope!"

You can find out even more about her at her own dedicated page on Phase B Records! Absolutely looking forward her new releases. Can't wait for that. Hit her up with a follow on all the usual platforms, you'll find all her links on her page here.

Show your support by grabbing some merch or buying some music. Rock on Jess.