Who is Look Mum No Computer?

I. Origins: From Maker Mindset to Musical Vision

The story of Look Mum No Computer begins with the man behind the alias: Sam James Bartle (often cited in press as Sam Battle). Born on 3 February 1989 in England, Bartle was drawn from a young age to the inner workings of machines. Biographical entries describe his childhood spent pulling apart rockets, robots, household appliances, and anything else that invited curiosity – sometimes to the chagrin of caretakers but always at the behest of learning how things worked.

Bartle’s evolution into Look Mum No Computer was neither instantaneous nor inevitable. After an early stint in music as the frontman for the indie rock band ZIBRA, which notably performed at Glastonbury in 2015, he began to shift his focus around the mid‑2010s toward more experimental forms of music and technology. It was during these formative years that he gradually developed the hybrid creative persona we now recognize: part musician, part engineer, part entertainer, all driven by a pure enthusiasm for sound and invention.

The name Look Mum No Computer, stylized in all capitals as is his brand identity, dates back to around 2016. It was originally linked to a zine (a self‑published magazine) that reflected Bartle’s irrepressible creative energy and slightly “dodgy” experimental side. The phrase itself evokes a childlike pride in creation – “Look, Mum, no computer!” – suggesting both recklessness and triumph in making something without conventional tools. But as the project matured, the name came to define not just a playful sensibility but a philosophy: that limitations – be they technical, financial, or cultural – can fuel creativity rather than constrain it.

II. YouTube as a Creative Launchpad

No discussion of Look Mum No Computer is complete without acknowledging the central role of YouTube in his career. Launching his channel in 2016, Bartle began to document the process of building homemade synthesizers, playing with eccentric instruments, and composing original music. What might have been private tinkering became public exploration, and viewers quickly gravitated toward the sheer joy and inventiveness of his work.

From early viral videos featuring a bicycle repurposed as a synthesizer – aptly called the Synth Bike – to contraptions made from toys like Furbies (an organ crafted from dozens of them), Game Boys, and flame‑throwing keyboards, his content was never dull. Each project was more than a novelty; it was a gateway into unconventional sound design – an invitation for audiences to view music creation as a playful, exploratory act.

By 2026, his YouTube channel had amassed over 85 million views and more than 1.4 million combined followers across YouTube and other social platforms, an extraordinary figure for an artist operating primarily outside mainstream commercial channels. This success underscores a deep cultural resonance: fans are not just curious about DIY instruments, they are inspired by the mindset behind them.

Crucially, YouTube provided more than an audience – it offered a community. Bartle’s projects often relied on feedback, suggestions, and collaboration from his viewers, turning the creative process into a two‑way dialogue. This participatory culture helped cultivate a loyal and enthusiastic fanbase that followed his projects from conception to performance, blurring traditional distinctions between creator and consumer.

From a financial perspective, Bartle’s YouTube presence also supported his endeavors. Fan contributions through Patreon and similar platforms helped fund ambitious builds that would otherwise be prohibitively expensive, while ad revenue and sponsorship deals provided additional sustainability. This model of community‑supported creativity exemplifies how modern digital platforms can empower independent artists outside traditional music industry structures.

III. Inventing Music: Instruments, Machines, and the Art of Play

Perhaps what distinguishes Look Mum No Computer most from other artists is not his musical output—but the tools by which he creates sound. Traditional musicians are typically evaluated based on performance technique, compositional skill, or vocal prowess. Bartle, by contrast, stretches the definition of a “musician” to encompass inventiveness in sound production itself.

His creations include:

The Furby Organ: A musical instrument constructed from dozens of Furby toys, each contributing its own mechanical, quirky timbres, blending toy nostalgias with musical experimentation.
Synthesizer Bicycles: Bikes outfitted with electronic modules so that pedaling and steering generate sound in real time.
Game Boy Oscillators: Instruments that retrofit classic handheld gaming devices into synthesizer modules.
Flame‑Throwing Keyboards: Instruments that combine pyrotechnics with performance, a sonic spectacle whose visuals are as arresting as its audio output.
Star Wars Droid Orchestra: A performance setup that uses droid toys to generate rhythmic and harmonic textures.

He even holds a Guinness World Record for building the world’s largest drone synthesizer, a realization of sustained harmonic sound on a massive scale.

These creations reflect a philosophy of play—an understanding that music is not just sound, but interaction, surprise, and reimagining familiar objects as something new. In Bartle’s hands, toys become instruments, public spaces become stages, and the boundary between player and machine dissolves.

This synthesis of engineering and performance aligns Bartle with broader movements in experimental music and DIY culture, where the means of production are as meaningful as the artistic product itself. But Look Mum No Computer’s unique blend of humor, spectacle, and accessibility grants his work a particular charm that transcends niche communities and bridges to wider audiences.

IV. Beyond YouTube: Music, Collaborations, and Multimedia Ventures

While his YouTube channel remains his most visible platform, Bartle’s creative output extends far beyond short videos and synth builds.

In 2019, he released his first single “Groundhog Day”, marking a formal entry into the world of recorded music. This early work demonstrated his interest in weaving experimental sonic textures into structured compositions—a melding of his playful instrument designs with more conventional songwriting approaches.

His collaborative spirit also emerged in 2022, when he joined forces with fellow electronic creatives Cuckoo and Hainbach to form the supergroup Uncompressed, an ensemble dedicated to pushing the boundaries of electronic improvisation and performance.

Bartle’s music has also found its way into screen projects. He co‑produced compositions such as Satellite Moment for the film adaptation of A Street Cat Named Bob, and Glitter and Gold for the Netflix series Safe. These forays into cinematic and television scoring demonstrate a versatility that bridges underground experimentation and more traditional media.

V. Expanding the Universe: This Museum Is Not Obsolete

In addition to his musical endeavors, Bartle established This Museum Is Not Obsolete, an interactive museum based in Ramsgate, Kent. The museum celebrates vintage analog devices repurposed for creative and humorous uses, offering visitors a physical space in which to engage with the history and aesthetic of electronic technology.

Here again, Bartle’s curatorial approach reflects a philosophy of reclamation: tools and technologies deemed obsolete by mainstream culture are given new life as sources of inspiration, sound, and spectacle. Whether it’s a Hammond organ reborn as a modular synth hub or an old telegraph machine wired into a sequencer, the museum serves as a testament to the enduring relevance of tactile, material creativity in a world increasingly dominated by software and screens.

VI. 2025–2026: A Video Game and Broader Cultural Recognition

In 2025, Bartle expanded his creative repertoire into gaming. A video game developed in collaboration with German indie studio The Bitfather and publisher Headup Games launched on Steam on 24 July 2025 and later on consoles in January 2026. The game, Look Mum, Look Mum No Computer, blends synth‑driven music mechanics with twin‑stick shooter action, inviting players to battle rogue machines and repair chaos through rhythm and electrifying audio interactions.

This transition into interactive digital entertainment signals Bartle’s multi‑platform influence. Where his YouTube work invited audiences into his process, the video game puts players inside the world he has built, turning musical invention into a playable narrative. It also reflects a cultural moment where the lines between game, instrument, performance, and media blur—a hallmark of Bartle’s ethos.

VII. Breaking into the Mainstream: Eurovision 2026

Perhaps the most striking development in Bartle’s career to date arrived in February 2026, when it was officially announced that Look Mum No Computer would represent the United Kingdom at the Eurovision Song Contest 2026 in Vienna, Austria. Chosen by the BBC to fly the British flag at the 70th edition of Europe’s iconic music competition, Bartle’s selection marks a dramatic pivot from niche experimental creator to national representative on one of the world’s biggest stages.

Eurovision—long known for its blend of pop spectacle, national pride, and occasional eccentricity—is a cultural institution. For decades, it has introduced global audiences to acts like ABBA and Celine Dion while also showcasing a quirky kaleidoscope of performance art, dance, and musical experimentation. In recent years, the contest has grappled with debates over musical relevance, geopolitical tensions, and dwindling viewer numbers. Against this backdrop, the UK’s decision to send Look Mum No Computer is notable for its embrace of creativity over conventional pop formulas.

Bartle himself has expressed excitement and honor at the opportunity, calling the journey “completely bonkers” and vowing to bring every ounce of his creativity to the performance.

VIII. What Eurovision Means for Look Mum No Computer and for Culture

Look Mum No Computer’s Eurovision entry is significant for several reasons:

It brings alternative electronic culture to a mainstream, international audience. Eurovision is traditionally dominated by polished pop songs and theatrical performances. Bartle’s brand of experimental electronic music and Do‑It‑Yourself instrumentation challenges these norms. Even before the song has been publicly released, commentators have compared the eclectic influences in Bartle’s track to a mix of Basshunter, Blur, Pet Shop Boys, The Human League, and Sex Pistols—a blend that hints at both homage and reinvention.
It exemplifies how digital platforms can birth global artists. Bartle’s trajectory- from YouTube channels, Patreon support, and online synth communities to representing his country in a major international competition -reflects a broader shift in how artists build careers. Where once gatekeepers dominated artistic exposure, creators today forge audiences organically through direct engagement and niche mastery.
It redefines what it means to be British in a cultural moment. The BBC’s head of entertainment praised Bartle’s “bold vision” and “distinctly British wit,” framing his selection as a celebration of national creativity and ambition. At a time when cultural identity and global media intersect in complex ways, Bartle’s unique stance – rooted in experimentation and invention – resonates as both authentically personal and representative of a broader creative zeitgeist.
It poses artistic questions about performance, technology, and audience expectation. Eurovision rules emphasize live vocals and often staged performances, yet Bartle’s artistic identity is deeply tied to his unusual instruments and technical ingenuity. How this translates to a Eurovision stage – where playback, choreography, and spectacle often take precedence – will be fascinating to observe. Fans and commentators alike debate how his rig might appear, whether it will be used as a prop or fully integrated, and what it means to translate YouTube‑style creativity to a broadcast format.