Meet Trisha Virdi

We’re excited to introduce you to the always interesting and insightful Trisha Virdi. We hope you’ll enjoy our conversation with Trisha below.

Trisha, thank you so much for joining us today. Let’s jump right into something we’re really interested in hearing about from you – being the only one in the room. So many of us find ourselves as the only woman in the room, the only immigrant or the only artist in the room, etc. Can you talk to us about how you have learned to be effective and successful in situations where you are the only one in the room like you?

As a woman of color, I’ve often been the only person who looks like me in the room, even in classroom settings. Initially that did feel intimidating, and I often felt that pressure to outperform everyone in the room just to prove that I deserve to be there. But I think more recently I’ve learned to see it as both a responsibility and an opportunity. It’s pushed me to prepare deeply, speak with confidence, and advocate for perspectives that might otherwise be overlooked.

My current research also focuses on women of color in film and broadway composition and orchestration, and I feel like that work has reinforced how important representation is; not just for me personally, but for the next generation of composers, orchestrators, etc. When I’m the only one in the room, I try to make sure my presence counts, whether by contributing unique ideas, collaborating openly, or mentoring others coming up behind me. I’ve found that leaning into my perspective rather than downplaying it has helped me be effective and successful, even in spaces where I might stand out.

Thanks, so before we move on maybe you can share a bit more about yourself?

I’m a composer, orchestrator, and sound designer; though I think at the heart of it, I really just see myself as a storyteller who uses music as the medium. My work spans across short films, animations, documentaries, and concert music, but the common thread is always finding ways to shape emotion and narrative through sound. I recently graduated from Berklee College of Music with a degree in Film Scoring, and I’m now pursuing my Master’s in Composition at the Royal Welsh College of Music and Drama.

What excites me most about what I do is the collaborative aspect. Sometimes I’m composing, sometimes orchestrating, and other times I’m the person behind the scenes making sure scores and parts are ready for performers. I especially love orchestration and music preparation; there’s something so powerful about taking an idea, shaping it for live players and then hearing it come alive in the hands of an orchestra. For me, it’s never just about writing my own music; it’s about working with others and helping bring their visions to life.

I think what sets my work apart is that I’m deeply invested in both the artistry and the community of music-making. My current research focuses on women of color in music composition and orchestration, a field where representation is still limited, and that advocacy is an important part of my identity as an artist. I want my work to not only tell stories, but also to create space for new voices and perspectives.

Looking back, what do you think were the three qualities, skills, or areas of knowledge that were most impactful in your journey? What advice do you have for folks who are early in their journey in terms of how they can best develop or improve on these?

I think the very first quality would probably be adaptability. In music, every project is different; and learning to shift gears quickly and embrace different roles has been crucial. My advice for those starting out is to stay open; don’t box yourself into just one identity too early. Try out different roles, because each one teaches you something you can bring back to your core practice.

The second is collaboration. Some of the most rewarding work I’ve done has come from serving someone else’s vision, whether that’s a filmmaker, a conductor, or fellow composers. Collaboration teaches humility and also sharpens your ability to listen.

The third is resilience, which to me honestly just means not getting shattered when something doesn’t work out. In music you do face a lot of rejection; whether it’s festivals, competitions, or pitches and it can be easy to take that personally. I’ve learned to see each ‘no’ as part of the process, and instead of shutting down, I keep reaching out to people and looking for the next opportunity. Its important to keep showing up, keep sending your work out, and keep building connections; because consistency matters just as much as talent, if not more!

How would you describe your ideal client?

My favourite kind of client is someone who values collaboration and is a good communicator. I’ve been lucky enough to have had great experiences working with directors who are clear about their vision but also open to creative dialogue. That kind of trust and back and forth makes the process not only smoother, but also more exciting, because the music grows out of a genuine partnership.

Contact Info:

• Website: https://trishavirdi.com
• Linkedin: https://www.linkedin.com/in/trishavirdi/