The Global Goals Music Roadshow

Music artist and voice of Unsee The Future Timo Peach co-hosts “the people’s show for changing the world” with fellow music artist AY Young, US Young Leader to the UN and creator of the remarkable Battery Tour.


How you do become a changemaker? Isn’t it a role for motivated superstar activists? It’s the question driving the new weekly online show from writer, performer, producer and environmental champion AY Young, and which tempted in the bloke from Momo to help. The Global Goals Music Roadshow meets ordinary people finding their voices about the human future, sharing their stories of projects and initiatives well under way or of their questions for how to even begin – in a lively format that reflects two natural entertainers that have clearly found each other.

“I was introduced to AY by a mutual friend, who herself kind of found me, through my consultancy work with Momo:zo” says Mr Peach himself. “Eller Everett of digital social impact team Both Of Us is such a knowledgable enthusiast for planet and permaculture and she simply said to me: “I only know of one other person who talks like you do about music and environment – I will introduce you.

“That was fateful” he adds soberly.



With four and a half thousand miles and twenty years between them, to say nothing of core music styles, the two artists found a kindred approach to both planet and performing.

“AY is a natural music maker. Rather like me, he can just make music all life long and inhabit it. He’s also creatively broad in it, with a beautiful versatile voice and ear” Momo enthuses. “But really, he’s an entertainer – I feel like we can trust each other on stage and take cues. And we’ve only met through screens.

“He wants to make the GG Show Saturday Night Live: The Environmental Musical. How the hell could I not be all in?”

“He’s also simply bringing star quality with authenticity about his mission. This combination is, I suspect, rare in both showbiz and music, and it infects everyone he meets, including me. He’s brilliant with people.”


Outlets for change.

That mission is one that Timo is happy to get behind. To help ordinary people plug their passions into changemaking, right where they are – and help viewers get energised about the possibilities of global transformation. Just when we so rapidly need it.

As guests share how they are becoming outlets for change, including some remarkable classrooms with AY’s Outlet Teachers, we also learn about AY’s upcoming sustainability projects following his impressive and singular Battery Tour, demonstrating how to run music shows on 100% solar and battery power.

“Yeah, he toured hundreds of shows, all over the US and some other nations, powered by solar and battery tech, and helped to raise money to leave some of that tech in less advantaged communities. It brought him to the attention of the UN and now he is the only Young Leader from the US representing the organisation” Timo explains.

The show refers to the United Nation’s 2030 Agenda and the Global Goals for Sustainable Development (17 SDGs) as a framework for supporting changemakers’ thinking in lots of different sectors, and as such covers a world of interconnected issues.

“Yes,” Timo concludes, “we explore lots of different topics to connect with in this planetary time of crisis, to help you feel like you can take part in building a better future no matter what things may look like on usual channels. Being around AY and just getting stuck in to developing this format, learning out loud together, has helped this hypocritical old utopian hitch up his socks more regularly. And being invited into all the development he’s done of this project, hearing the moving stories from people’s different experiences every week… it’s changed the way I think about my own work and approach.

“Plus, the between the two of us, the show is gently nuts” he adds flatly.


Every Thursday 13:00CET / 19:00BST
on AYYOUNG.COM supporting the Battery Tour

AY is developing his Global Goals album, 17, with the help of some big name artists and grassroots changemakers alike – 17 songs to represent 17 goals to give ordinary all of us voice about the shape of the human planet future.

“Support the tour, do one thing. Together, WE are the battery powering change.”

The Global Goals Music Roadshow is the beginnings of a media platform for sharing stories of people and organisations all trying out initiatives across the spectrum of the SDGs challenges, and it promotes the Battery Tour project AY and the team are developing. This includes:

1. ALBUM: collaborating with the biggest artists in the world to do a 17 song album. 1 song for each Sustainable Development Goal. Produced sustainably and powered by renewable energy.

2. TOUR: 17 dates around the USA in 2022 all powered 100% by renewable energy.

3. WORKSHOP & INDUSTRY GUIDEBOOK WITH THE UNITED NATIONS: Hosting a virtual workshop that will result in a guidebook that provides a roadmap for the entertainment industry on how to tour and record an album sustainably as well as to encourage an uptick in artists using their platform for good and instill in them the willingness to act and engage more frequently on social causes.

Become an outlet for change and follow #BatteryTour on Twitter, Insta, and Facebook >




A decade of The Golden Age

Celebrating a significant birthday at the start of October, in all the complexity of getting here and of the times I find myself in here, for a moment I am boringly mostly just grateful.

It’s not been boring for me, but might be for a post about it left at a thank you list. But little seems great at the moment generally, to put it midly, and for me personally there was a time I could see nothing great at all.

Which, via the long way round, was a period that lead to the inception of my work as Momo and to the coming out of its musical sound – a musical sound first released with a home-made debut LP, The Golden Age of Exploration. And it’s a record that still means a lot to me.

In this little behind the scenes, I share just a bit about where I’d come from in arriving at this album. It was a very long way round – over twenty years to drag myself just over the line of something that actually worked and seemed to embody a genuine artistic world. Talk about arriving late, despite trying quite hard the whole way; some people are born cool, some people have cool thrust upon them and some of them will never attain cool but by virtue of sheer blind beligerance make something that sounds at least a bit intentional. This record was a massive sketchbook work-out essentially, unsure what I was intending until I’d feverishly worked it through, but it unlocked me into a new world of music making with confidence and identity. It will always be a big symbol for me.

As I share in this vlog, of the many Momo secret hits from The Golden Age that I’ll never tire of playing out live, perhaps one symbolises the journey in my memory the best – Asylum Seeker.

These are some thoughts more about the personal walk through the development of this piece and the record around it, rather than an exploration of refugeeism. That’s a separate story to consider with art in which my place is to listen, not sing. But for a single example of the place of art in making connection to borderless citizenry, as geographic as emotional, you should follow The Walk of Little Amal from the Turkish-Syrian border to Manchester in a wave of creativity and testimony through seventy towns and cities. It is ambitious, to say the least, giving voice and visualisation to the human statistics of empty politics. That brokenness and lostness can help the most entitled of us, maybe well used to being heard and seen, glimpse empathy for those forced to make their whole lives testimony to dislocation is the whole point of my own little electro-pop song about looking for home.




My gratitude at reaching the half century in the town I grew up in is actually in how I’ve arrived back here. Not just in one piece physically and emotionally, despite the darkest of sunny summers in generations this year, but having had the lifeblood transfusion of getting to finish a few things all at about the same time. I’ve been working some long hours and slightly obsessive To Do sheets over the last couple of months especially, but projects like Talking Distance and my Science Caketalk, as well as a couple of really interesting projects I’ve been working through consulting with Zo, have given me a nice sense of closure right before a big round number nameday. As I’ve said like a stuck record over the years, finishing things feels essential for learning and moving on. Especially because earning a little celebration at the close of them helps give you a little payback of joy and rest. Damn lucky when that works out.

An extra part of this I should say is a gift from some of my creative family. A reflection back to me of their creativity and how we can encourage each other in our play, our making, trying and exploring – a mixtape, that can really only be described as a variety show of gentle madness and brilliance on a lovingly presented C90 cassette. Arrived in the post on the afternoon of my fiftieth, from Andy Robinson, Simon Brett and a whole gang of people for some reason wanting to sing silly songs at me, or share poetry, or performance, or mixes or just well wishes and tune choices. These couple of sentences do not do this justice, and frankly I never will be able to. It’s floored me in its generosity and encouragement. But if the decade that The Golden Age unlocked could lead me to such family and produce such creativity between us then I should celebrate it. If your work leads you to find people who can hold each other up in the lostness and madness, you’ve been following something good, I suspect.

If you’d like to hear it for yourself, message me and I’ll send you the private link. It’s very entertaining.

Meanwhile, as a final part of my own little bit of celebration and closure before looking forward, I’ve created a loving kit bash of Asylum Seeker – the Decade Defiance Mix, which you can download for free right here, below.

So I am indeed grateful. But there’s nothing boring about it. All these decades in, whether I even get to glimpse the promised land or not, loved ones have encouraged me to feel like I’m only just warming up for the road still ahead.




Why science is a bit like art: An Unsee The Future Science Caketalk

Momo brings a special presentation to the online science festival on Sunday October 04 2020, comparing two human disciplines that are in the business of changing worlds.


The bloke from Momo:tempo, Timo Peach, is a music maker and creative with a big interest in how the human planet fits together – and how fellow artists are also trying to make sense of it. But in his edited lecture for Science Cake, he explores three hypotheses aligning the experience of exploring the world through art with that of science. Around introductions to his own reasoning, developed through his research cast Unsee The Future,  he tests his thinking by talking to two people along the way with some insights into those experiences.

Denise Poote is an artist and lecturer who’s work instinctively looks for movement, exploring spaces as “traces of activity”. Across marks, sculpture, digital and performance,  her developmental process follows a strong sense of data and evidence gathering to express something dynamic with contraints. Interrogating parameters and describing her pieces more like “outputs as snapshots of ongoing process” she says the frameworks of analysis her work creates can only ever be temporary against the “fluid practiced space of shared experience.”

Brian Kraemer-Banks is a science educator, creative and activist and Pearson’s FE Lecturer of the year 2019. Teaching biology and anthropology across 25 years, his innovation and passion in the classroom have always been based he says on one clear aim: “To unleash a love of learning in every learner so they will go forward into the world and be successful, fulfilled, and considerate members of society.” And he says he has learned: “Science and the humanities are not different disciplines – all knowledge is about searching for understanding of life’s mysteries before the clock runs out.”

“It’s a fun format, to make a little online lecture show, and I’ve drawn much comfort from the sense of progress and practical problem solving that science represents since childhood,” says Timo. “It’s linked tightly to my love of science fiction, of course. But if art thinking has become central to my view of how to transform a world in crisis, how does it compare with science thinking, which practically built the modern world? Are they in fact very similar disciplines in some practical ways, and both all the healthier and richer for being mixed?”



Founder Lee Rawlings wanted Science Cake to be a way to cope with missing another festival he and Momo and a host of creative friends have fallen in love with, Bluedot Festival.

“It’s just so beautiful” he says, “that natural mixture of music, art and science lectures! We miss it terribly as a gang, so I thought I’d create a way to celebrate and explore a similar principle online. And I’m wowed at the mix of people who’ve said yes to me just asking them to join in.”

Covering a creative mix of space weather, marine ecology, model making and music, Science Cake 2020 also includes a special retrospective of a particular film project Momo contributed to.

“Andy Robinson’s Seasons Of War is an absolutely beautiful scifi short and some years on he and I were interviewed by creative director Simon Brett about the process of making it. A real creative treat to learn how to do something so good on a budget of pistachio shells” says Mr Peach.



Unsee The Future: Why science is a bit like art is streaming at 19:00 Sunday October 04.

Seasons of war: making a successful Doctor Who short film is streaming at 14:00 Sunday October 04.


Programme for Sunday’s Science Cake from – 11.30pm

Coming soon a day of talks, chat, fun and science. Online on the Science Cake Facebook page
On the hour every hour experience something slightly different. Just like the many layers of a very tasty cake. A science Cake.
11.30 We go live – Lee says hello!
12 Noon – Stuart Maudling (Marine Biologist) – Trash talk and turtles
1pm – Brian Banks (Award winning Teacher) – Some handprints to discarded gloves – How a smart ass ape has bitten off more than he can chew!
2pm – Seasons of War panel – Making a successful Doctor Who short film
3pm – Siddhant Deshmukh and Ayesha Tandon(Met)- Space weather
4pm – Making a Warrior as easy as ABC – Cosplaydocucomedyinterview With Martin De Denning
5pm – Space Exe – Model rockets and XRTC radio telescope
6pm – Music Hour from Finn Talisker and others
7pm -Timo of Momo:tempo – Unsee the Future: Why science is a bit like art.
8pm – Lee Rawlings an Trevor Bruce/ Videogames we loved to play -interactive
9pm – Dartmoor Skies – Live Mars hunt
10pm DJ Simon Brett – Music mix (link)
11pm Jez Winship from the Lost Chord – Science Cake Neutrino Batter Mix

Talking Distance, for Arts By The Sea Festival

Momo is commissioned by the Bournemouth Christchurch & Poole creative event to help celebrate its tenth year – by meeting eight creatives from the local scene, each sharing a walk of art with the Southbourne music maker. Safely, of course.


Covid 19 may have changed everything, but for many performing creatives and indie artists it has been devastating. If art can be a place of refuge or defiance, processing or simply play, how might ordinary creatives make sense of this chapter of crisis? It’s a question at the heart of Arts By The Sea’s new podcast series with Timo Peach, Talking Distance.

As the bloke from Momo:tempo, a music maker and creative himself and voice of the futursim research cast Unsee The Future, Timo is interested in art’s place in ordinary life and how it helps us shape the world around us. So he jumped at the chance to spend some personal time with people from across the creative sector to hear something of their experiences dealing with crisis, work and inspiration.

“Getting outside has been one of the lifelines of lockdown,” he says, “and everyone in this part of the world knows it is a privilege point. Art too is often a lifeline, so I was keen to hear different experiences of artists hustling for health and wellbeing as much as rent right now.”


The podcast takes presenter and listener on a forty minute “walk of art”, exploring somewhere locally that’s been significant to each Talking Distance guest on their creative journeys – the theme of this year’s festival.

“It’s been a just lovely experience” says Mr Peach.”Our guests are ordinary people dealing with an enormously weird period in history, like anyone. But their art has given them different ways of dealing with and testifying to the difficulties – and we all managed to find fun together amid the fears.”




After he’d had the invitation to jump into the project from Andrea Francis, festival director of Arts By The Sea, Momo had to devise a whole format for this listen, which was right up Timo’s street, of course.

“I am contracturally obliged to point out wherever I go that the lovely first lady of Momo actually came up with the name,” he says. “I may bite my knuckle at not having thought of it, but she pulled a blinder there, we all love it. And I got to play about with visual and sonic branding to bring it alive.”

This included a slightly odd musical identity.

“Y’know, I just decided not to question it as it came out of me,” he says, “I wanted something playful and eclectic and it turned out sort of wonky Art Of Noise. It’s not like Timey Blimey, the signiature tune to Unsee The Future, which I took enormous delight in turning into a live piece for the band, but it’s sort of joyfully distinctive. And I’ve still woken up with it as my morning earworm a few times.”

“I couldn’t be hoping more that we find a way to do many more of these episodes,” Timo concludes. “Art helps people move between deep and silly easily in conversation, everyone has been so positive but open to share. And there are just so many figures I can think of and so many I want to meet making real creative sense of life in this part of the world.”


Talking Distance will be sharing a new episode every morning of festival week from Monday September 28 2020.



The unreal virus among us.

Were you at or cheering on the Unite For Freedom rally yesterday in London? Ten thousand turned up, it is reported. Pointedly not wearing masks, as symbols of oppression.

Living in a machine that naturally recycles fear at the best of times, it is an impossible mental feat to balance clear-headed concerns in times of crisis. Times of crisis – if they are that – demand reactions out of a normal sense of balance.

I want to share a little basic research that Mrs Peach sourced this morning that I too have been wanting to firm up in my mind a little more – one of the most central claims of the protests against COVID19 social restrictions: It’s less deadly than ‘the flu’.

Being a deep cynic about our current government and conservative trends in politics generally, never mind the more extremes of it driving global conversations at the moment, I felt for months that official Covid figures in the UK couldn’t be trusted. Liked GPs mentally adding a third to patients’ weekly alcohol unit claims. Perhaps you have been mentally doing the reverse, like those of uswho’ve said, with a tempting swoop of a cloak: “But do you actually KNOW anyone who’s had it though?”

All our understandable gossips aside, on the far side of the first summer with this disease I’m here comparing some key reported figures we’ve found. Different sources, admittedly, but fair ones in context, I think. Also, for both Covid19 and ‘normal’ influenza, England is by far the lion’s share of the cases across the UK nations, so I’m going to quote those figures, to keep it a degree simpler for essential illustration of the main point.

Links to the official spreadsheet and report are in the comments below for your reference. The Office of National Statistics reports deaths registered officially between and NHS England as 49,460. Of over 300,000 reported cases. across the whole UK.’s official flu report for 2018/19 (which we’ve picked to steer clear of any Covid reports muddling more recent data) says, at the bottom of p51, the worst year for cases of flu recently was 2014/15 at 28,330. Less than a thousand of those deaths were of people under the age of 65. The report year itself recorded a bizarrely low figure of less than two thousand but an average number of deaths from flu in England in the last five years must be a little less than 20,000PA.

Remember too, the Covid19 figures of people who have died from the disease are for a lot less than a year of recording yet – essentially half that time. And these figures I believe don’t include indirect deaths. Note also, this has happened in distinctly not flu season. When our immune systems are stronger.

I would honestly add to this comparison also that the demographic for Covid deaths is widely reported as significantly different to that of normal flu – while kids seem very unlikely to get it, fatalities are markedly more spread across the ages than flu. And, anecdotally, while some who’ve had the disease have reported little trouble from it, many have conversely reported not just how unpleasant it is but how weirdly long lasting, still feeling knocked for six by it months later. Medical folk, please wade in with testimony and evidence here. But I’m concerned we are in danger of concocting simplistic narratives to suit our fears about SARS CoV2 and the disease the virus triggers.

It’s not the flu, as we’re used to dealing with it. It seems a lot more serious. I’d say, as ever, spend time talking to NHS workers who’ve been dealing with the disease whether they think the phenomenon is a hoax.

I’ll confess I’ve not gotten around to watching the London Real exposé on all this, with David Icke’s perspective fairly central to the thesis. I would say his words at the rally on Saturday: “Anyone with half a braincell on active duty can see it (the virus) is a nonsense, because they (the government) are making it up” seem to not fit the human loss represented in the recording of it above, or indeed around the world. Yes, I have homework still set me by friends to hear what the thesis is about where the disease did or didn’t come from, whether it is or isn’t real or natural. I do know that Brian from London Real Academy has sent me half a dozen promotional emails a day since I had to
subscribe to his channel in order to watch the exposé YouTube and Facebook took down.

My instinct here, as it has been all through our Brexit debates, is to ask: What is the fruit of the idea? Whose company does an idea keep or encourage; who seems emboldened by it and who is diminished. As with any political momentum, I think we should be asking: Who has the power here?

Who will benefit, what will we the people gain, and what might we lose?

I won’t call this a march of loonies and cranks and I’ll just about manage to stifle, by stuffing a kitchen cloth into my mouth, saying the march looked like a collection of right wing groups gathering. That’s the reactionary liberal in me. It was, I think, only one bloke who unfurled the Union of British Fascists flag and it could be mistaken for a 30s superhero logo and maybe that’s why it
seemed to go unchallenged by the crowd.

I do think this is more evidence of things we are all wrestling with as a society in this era. Massive corporate influence over world markets, assets and governments? Duh – obviously. Threats to civil liberties in a digital era? You tell me, Alexa. Shite-ton-a questions over vaccines produced in an unsafe timeframe by big pharma? What are we even fighting about? People waving placards saying: “Love and freedom to all”? I’ve always said you libertarians just want an unconditional hug. I’m in. And a corrupt decadent elite, cultivating the abuse cultures while the world burns? It’s not exactly a big imaginative ask, is it? And the strain to local businesses and everyone’s mental health
from suspending business as usual? Huge, but complex.

We’re in a global economic system I would describe as sickening and seizing-up . I’ve come to see it fundamentally. We are out of balance with the natural systems that made everything we have, and it’s a problem so fundamental and so big that few of us can take it in, let alone feel the impact of it emotionally. It’s different details of injustice that tend to hit home, I think.

If there is any fundamental waking up to do, I wonder if we’re more of us beginning to but to different aspects of the world machine’s problems, at different times. Different imperatives get us questioning our priorities.

And I take some comfort in how compassionate values are mixed up with more extreme rhetoric unconsciously. Vegan libertarians speak up. But also, keep following and joining the dots. Who is really around you, and who is missing?

My worry about narratives like those of Saturday’s rally in London is the over-simplification of medical and scientific issues, in a conflation of widely-shared fears and very specific more conspiratorial details. What rights our governments may attempt to lever into place during the
pandemic should concern us – as surely as the unelected technocrats trying to run them, like Dominic Cummings. We should be as angry at the undemocracy of that as of the cavalier treatment of British citizens. The narrative arc of Mr Icke’s story reads like a Dan Brown novel, like a season structure from a drama writers’ room looking for the right balance of centres of gravity and character to make it work.

Its effect too is an eroding of trust in the methodology of science, because for all the intellect wrestling with these issues in QAnon-type spaces, our own placards reduce the story to “antivaxing” “anti masks” “anti-5G” “anti-Bill Gates” “anti-global health organisations” “antigovernement”. Really, the networked “demon-haunted world” as Carl Sagan described it, is too easily dangerously
anti-complexity. Pro-gaslighting. Whether it’s populist politicians or consumer product placement. A demanding of you that something is what it isn’t.

In my bones, it didn’t feel like my home I saw articulated and represented yesterday, and it didn’t feel like freedom for me they were championing. But that’s how we all feel about someone’s protests, in their right to do so. Why should I feel so differently about this march compared with others I have attended myself – most noteably just a couple of blog posts back? From the story I currently think I’m in, I’d say the Unite For Freedom rally was a lot more pro-status quo than many folk on the march would like to hear themselves saying. I also believe it is part of sharing the working out of massive, new foundational times for all of us, and I mainly know that I don’t know very much, really. And also truths will out in time.

I think we’ve all grown up in an unreality in the West. But I think we’re being offered alternative unrealities as lifeboats. When we’re many more of us marching not because “MASKS ARE MUZZLES” but for values that would help someone else with their oxygen supply before attending to our own, then I’ll feel we’re going to get revolution from this current insane world.

David Icke called the “real” virus among us fascism. I’m at a personal stage that whenever I see it, I will call it out and stand with those who energise me about a truly healthy, hopeful, accountable human tomorrow.


Photo by Adam Nieścioruk on Unsplash.