Sitting comfortably with discomfort, Phoenix Rousiamani finds beauty in violent context. Looking directly at darker material and treating it with care rather than distance, she brings intense attention to arranging and performance work across different settings – from intimate folk forms like playing violin and keys for Lucy Dacas; to large ensemble writing performed by the London Philharmonic Orchestra and the Greek National Radio Orchestra; and her own freak-folk electroacoustic project, Knowing the Oak Tree. What connects it all is precision and restraint – something considered, uneasy, and held together with purpose.