Kash A one man band with acoustic guitars, electirc guitars and beatbox plus vocals.

A performance space of at least 3 x 3 meters, one 13 amp power socket for a loop pedal/DI box, and a stable surface for a mic stand. If the venue has a house PA, I can work directly with it. If not, I can discuss bringing my own setup depending on the event size.

Helpful to know the venue capacity, whether there's a house PA and who operates it, any sound limiters in place, and load-in access. If it's an outdoor event, weather cover and power source location are useful to know in advance.

I can perform with a minimal self-contained setup for smaller events and private functions. For larger bookings, I work with the venue's existing PA or we can arrange a hire. With 7+ years as a professional live sound engineer, I'm comfortable adapting to whatever setup is available, from a pub corner to a festival stage.

Yes, happy to run a playlist before, after, or between sets via Spotify or a device of the client's choice. I can curate the music to match the event's vibe or work from a brief the client provides.

Hard to pick one. As a performer, playing intimate Paris venues where the room is small enough to feel every reaction has been the most rewarding. As a live sound engineer — which is how I spent seven years before stepping out front — the Ed Sheeran Mathematics India Tour was the benchmark. Stadium scale, zero margin for error, and the kind of crowd energy that reminds you why live music exists. That experience shapes how I approach every performance now, from the biggest stage to the smallest corner gig.

Anything where the audience is genuinely present — not just waiting for the background noise to stop. Corporate events with a relaxed end-of-day vibe, private parties where people are already in a good mood, and festival fringe stages where you're playing to strangers who have no idea what to expect. Those are the rooms where something real can happen.

I started as a sound engineer, which meant years of being the person making everyone else sound good. Working shows like Lollapalooza Mumbai and COP28 Dubai gave me a front-row education in what works live and what doesn't. Eventually the pull to be on the other side of the mic won. KASH grew out of that — solo guitar, beatbox and vocals, built on a foundation of knowing exactly how a room hears sound.

Influences span further than the genre tags suggest — John Mayer for tone and restraint, Kendrick Lamar for craft and density, Rahul Dev Burman for the way he wired Indian music into something entirely his own. Favourite artist is a moving target. Greatest song: Comfortably Numb. The solo doesn't argue, it just ends the conversation.

I typically arrive 45–60 minutes before the performance to set up and run a sound check. Standard format is 2 x 45-minute sets with a short break in between, but I'm flexible — a single longer set or shorter background music slots work depending on what the event needs. Just let me know the format in advance and I'll fit it.

Yes, happy to play outdoors. I'd need a flat, stable surface, access to a power socket within reasonable distance, and some form of weather cover for the equipment if rain is likely. With a background in festival and outdoor event engineering, I'm used to adapting to less-than-perfect conditions — it's rarely a problem.

Both work. I have a working repertoire across Rock, Blues, Metal, R&B and Hip-Hop that I can send over for clients to pick from. I'm also open to learning specific requests for an event — give me reasonable notice and a shortlist, and I'll do my best to make it happen. For clients who'd rather not think about it, I'll read the room and choose.

Versatile and attentive to the room. The feedback I get most often is that the energy shifts to match the moment — whether that's background ambience during drinks or something that gets people moving later in the night. The sound engineering background means the technical side is never the thing people have to worry about.