Occasionally I get mentioned in reviews, here is a collection of some lovely things that some people have said….

“When You’re Here, I’m Nowhere is a beautiful, dramatic explosion of emotion and music. It’s up to the audience to decide what it’s all about, while they’re soaked, heart to skin, in incredible sound.”
When You’re Here, I’m Nowhere. Review: Zoe Barron - Artshub

“For me, the two most effective pieces happened deep in the bowels of the building. The gorgeously explosive When You’re Here, I’m Nowhere, performed by its composer, Brett Smith, on a piano made even grander by its subterranean cranny, was like something by Syd Barrett or John Cale.”
When You’re Here, I’m Nowhere. Review: David Zampatti - The West Australian

Brett Smith’s soundscape is punctuated by hard, slamming cuts between scenes, typically filling out the space such that it always seems like there are others chattering in the wings and that voices are intruding into the stage space from elsewhere.”
Unheimlich. Review: Dr. Jonathan W. Marshall - Limelight magazine.

“The icing on the cake is the giant cat with glowing eyes, a kind of comical but creepy MC, expertly voiced by Igor Sas, who ensures that if we thought we could relax, we are sadly mistaken. The cat resides both on stage (as a mask animated with fabulous feline grace by Lehrer) and downstage right as smaller version atop a plinth, the latter also functioning as a furry loudspeaker, from which Brett Smith’s soundscape explodes and contracts in ways that add to the atmosphere of unease.”
Unheimlich. Review: Nina Levy - SeeSaw magazine.

“Brett Smith’s sound design works with the constantly changing series of movements as well as making the most of the open air atmosphere. While the sound of rain makes many audience members look up, the highlight is using the courtyard’s muddy acoustics to create a thudding heartbeat, morphing into an industrial grinding pound, reverberating against the walls and enfolding us in a cocoon of aural experience. With the movement on stage and the insistent pounding of the beat, audience are drawn into a sense of participation with the approaches and rejections of the dancers.”
Mouseprint. Review: Nerida Dickinson - Australian Stage

“Brett Smith shines on the tenor sax, and it would be worth seeking out his non-theatre musical endeavours for more...”
The Man and the Moon. Review: Cicely Binford - Perth Arts Live

“Brett Smith’s sound design alternates between subtle notes, right on the edge of awareness, enhancing the feelings expressed and amplifying the uneasiness in the spectator, and bombastically cheesy love songs and classic symphonic selections that tie in with the narrative and its various twists.”
Nerida Dickinson - Artshub

“Brett Smith’s unobtrusive sound design included retro pop songs and a sweetly naive piano melody.”
The Eisteddfod. Review: Rosalind Appleby

“The inside of The Bird was packed as the Benjamin Witt Quartet plugged in and got the crowd warmed up with some upbeat afro-inspired dance music that got the audience dancing in the tight space of the dance floor. The second song saw Witt's sax player bust out some sweet solos alongside Witt's fantastic guitar playing before the two performed a track together with Witt handling synthesiser and harmonica duties.”
Benjamin Witt Quartet. Review: Scott Aitken - TheMusic

“Brett Smith's sound designs brief was to really work with the surreal and the sexual. His sound designs and effects are like distant billows that travel through and around the space of the stage and the theatre. He created romance with strings and added twists and turns culminating in a primitive primal beat.”
Venus in Fur. Article: Lawrie Cullen Tate and Patrick Howe

“The show is bolstered by a consciously fun soundtrack, put together by sound designer Brett Smith.”
I do, I don’t. Review: Rhys Tarling - Perth Arts Live

“Brett Smith’s sound design enhances the feeling of isolation, of a moment waiting to be seized…”
Old Love. Review: Nerida Dickinson - Artshub

“Enigmatic, twisting, tenebrous and sensual, a man’s body conspires with ravaging sound, stark lighting and grim projections on a back-wall screen to deliver an experience impossible to forget.”
The Man. Review: Kate Prendergast - The West Australian

“The technical aspects are given their rightful dues here, as the timing and positioning has to be impeccable to deliver the creepy sensations of Welcome to Slaughter. Joe Lui’s lighting design does not so much illuminate as develop an intricate system of shadows, combining with Brett Smith’s deliberately-paced sound design to trigger fight or flight responses even in the middle of the audience.”
Welcome to Slaughter. Review: Nerida Dickinson - Artshub