Henry McPherson (b.1995) is a composer, improviser, artist, and researcher from Herefordshire (UK). His artistic work explores plant-human relationships and creative dialogue with the more-than-human world. He is interested in moss music and microclimates, cultural histories of trees, sonic collage, and dancing with instruments. His developing approach to ‘ecological improvisation’ aims to cultivate inclusive listening and interspecies empathy in and through performance. His research work focuses on improvisation within social, community, wellbeing, and environmentally oriented initiatives. 

Henry is a passionate believer in trans- and inter-disciplinary artistry, and advocates for a creative culture which supports us to flourish as More Than One Thing. His portfolio includes music for concerts, for stage and audiovisual media, as well as graphic scores and gallery pieces, texts and installations. A versatile performer, he works across free improvisation, contemporary chamber and experimental music, as a pianist, vocalist, recorderist, DIY instrumentalist, and often collaborating with movement and visual arts.

He is a founding member of the UK-Swiss experimental collective The Noisebringers, is the co-editor of the politically engaged online arts project The MASS. He is the research and project development lead for London-based multidisciplinary performance hub The Noisy Women Present.

Henry is a postdoctoral researcher at the University of Manchester's Creative Manchester research platform, is a visiting lecturer in sonic improvisation at the Royal Conservatoire of Scotland, and previously lectured part-time at the University of Huddersfield. He holds a PhD (2023) in contemporary music and contemporary dance from the University of Huddersfield Centre for Research in New Music and Research Centre for Performance Practice, where he was supported by a collaborative studentship in association with hcmf//. He also holds an MA (2018) and BMus (2017; hons, 1st) in Composition from the Royal Conservatoire of Scotland.​