“Bamboo Mustard” was initially created as an anti-consumerist response to the pollution of London’s environment and politics. The performance has developed over the year and has drawn upon different themes such as alter-ego identities, communal creativity, autumn, and hierarchical structures. This performance involves experimental self-made instruments and communal music-making led by an entity of noise: Bamboo Mustard. Half instrument, half human, Bamboo Mustard is an embodiment of raw and primal audio energy dressed in bamboo cane trousers, a conker collar and a grass mask. Raw natural material and scrap has been scavenged and reconstructed to turn detritus into sound-objects for spontaneous music-making. These include a collection of chordophone (string) instruments, two of which are made out of TV aerials, a tree branch instrument and smaller percussive- and wind-instruments. As Bamboo Mustard, I journey through each instrument and object, building different sound textures through improvisation and body movement. Recently the performances draw inspiration from the sounds of autumn (such as dry leaves and conkers) bringing a natural soundscape to an inside space. Bamboo Mustard communicates only through sound as his speaking voice is robbed by a small radio mouthpiece, which distorts the frequencies and opinions from various radio stations. Bamboo Mustard slowly invites audience members to join in and play the instruments themselves and allows the remainder of the performance to be open-ended and unpredictable. On occasion, Bamboo Mustard disposes of the alter-ego identity and transfers the costume to audience members, and the music making is left in their hands. The aim of these performances is to create a sense of communal non-hierarchical music-making, embracing spontaneity and creativity of the present moment. Scrap repurposed into instruments suggests that anything can be turned into an object and mediator of positive and creative energy. It also helps remove the cultural and traditional baggage surrounded by conventional instruments, so audience members don’t feel intimidated to play and join in. With the idea that everything and everyone has a vibration and energy, the performance aims to tap into this phenomenon and embrace a collective expression through objects and ourselves, yet also embraces the failure of these aims. After a “Bamboo Mustard” performance an audience member once said, “I no longer need to take LSD after that…”