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Reimagining the lyre for the modern world.

 

Artist, musician and writer, James Flowerdew is on a mission to breathe new life into one of humanity’s oldest instruments – the lyre. His journey is shaped by necessity, invention, and a deep affinity for sound that challenges convention.

“I enjoy mystical, experimental music,” James explains. “I also have one arm, so I needed to think differently about how I play and create music. I couldn’t rely on traditional instruments but it felt wrong to modify them, so I began exploring alternatives and creating my own.”

That journey began with an autoharp, then curiosity led him to Russian zithers, and ultimately to the lyre – an instrument that dates back to ancient civilizations such as Babylon and Egypt.

“These ancient instruments aren’t just relics,” he says. “They have a future. I don’t play traditional lyre music – I’m influenced by the ancient world, but my music is modern, electrified, and experimental.”

James’ public performances span folk, avant-garde, and post-rock styles. He’s collaborated with other musicians, spoken word artists, poets, storytellers, and even rappers – using the lyre in ways that push its sonic boundaries.

When he found himself between homes last year, James needed a workshop that could handle the mess and noise of building instruments. That’s when he discovered EOW, a shared creative workspace.

“The equipment is brilliant,” he says. “But the real value is in the space itself – you can make mistakes, ask for help, and not feel like a burden. It’s a place where creativity and problem-solving thrive.”

At EOW, James built three lyres in just three weeks. With access to tools like band saws and routers, his workflow became faster, safer, and more precise.

“Before this, I was cutting lyres in my living room with a jigsaw. It was messy, inaccurate, and frankly, terrifying. Now I get clean, straight cuts – it’s a dream, and it saves my hand from strain.”

 

James is now aiming higher: applying for funding to refine his craft, explore new materials, and build lyres for others. His goal is to make these instruments affordable, accessible, and built to last.

“No two lyres I make ever sound the same,” he says. “It’s a blend of science and guesswork, and I love that. I’m stubborn and a bit annoying,” he laughs, “but also adaptable – being one-armed taught me that. I want others to feel the joy I do when I play. I want to create something timeless.”

Ultimately, James envisions a future where handmade, modern lyres are part of the musical landscape, celebrated not for nostalgia, but for the new sounds and voices they inspire.

“A new form of instrument and new music that doesn’t rely on identity for validation—that’s what I’m reaching for. Something beautiful. Something enduring.”

 

We are very proud to play a small part in this journey and wish James the very best of luck with all his future plans.

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