Jeremy Birchall is a composer whose work spans multiple genres including TV, advertising and dance.
He has worked on tv projects including The Mother of All Cons (BBC), Ripper Street, Fortress Britain, Survivor, Britain's Most Historic Towns, Elizabeth is Missing, and Free Rein.
In collaboration with choreographer Stina Quagebeur he has scored Nostalgia for Northern Ballet, performed at the Royal Opera House, and Catching Colour, a collaboration between English National Ballet and The Line.
Advertising credits include: Tesco, Zara, Sky, M&S, Amazon Alexa, Lenor, Morrisons, Vodafone and Capital One.
Hungry Ghosts was commissioned by the Joffrey Ballet in Chicago, 2024. The Chicago Tribune, in a four-star review called it "the perfect container for Quagebeur’s choreography....it’s a swirling cacophony ... a blurry, unhinged corps de ballet that really captures the tragedy, trauma and abdication of will associated with addiction". Headphone Commute described it as "a spellbinding, evocative score capturing the chaos and tragedy of addiction".
Everything InBetween, for BalletX was premiered in Philadelphia in July 2024. A new collaboration with choreographer Andrew McNicol and the McNicol Ballet Collective, Liquid Life, premiered at the Royal Academy of Music in April 2025 as part of the Here and Now production.
A new commission for Ballett am Rhein, Omelas, again working with Stina Quagebeur premiered in Düsseldorf on March 14th, 2026.
He writes production music for Universal, KPM, BMG, SATV, Faber Music and Grey Man.
"The music by Jeremy Birchall is the perfect container for Quagebeur’s choreography."
Lauren Warnecke, Chicago Tribune ★★★★
"Jeremy Birchall’s music was absolute perfection: alternately discordant and mellifluous; simultaneously strident and harmonic."
Sarz Maxwell, Buzz Center Stage, Chicago
"...the haunting music of Jeremy Birchall..."
Graham Watts, Bachtrack
"Set to music composed specifically for this piece by Jeremy Birchall—rhythmically clearly defined, tonal music in the style of 19th-century ballet scores. Whenever the situation threatens to tip from a lighthearted, ironic cheerfulness into something menacing, Birchall's music, which so masterfully captures the mood, loses its dance-like lightness. The movements become more angular and mechanical, and thus more modern, shattering the dance-like aesthetic of beautiful illusion...The strongest Düsseldorf ballet evening in a long time."
Stefan Schmöe, Online Musik Magazine