Bess Egerton Professional Portfolio
Music producer and multi-instrumentalist creating spaces where artists feel heard, supported, and inspired.
Introduction
Bess Egerton (she/her), known by her artist name Hag, is a Meanjin/Brisbane-based music producer and session musician specialising in bass and guitar. Her signature sound - warm, polished and intricate with raw charm - draws inspiration from artists such as Sam Evian, Clairo, Anna Laverty, Ester Dean, Jack Antonoff and Steve Albini.
Bess is dedicated to creating safe, inclusive creative spaces where women, LGBTQIA+, and gender-diverse artists feel supported to express themselves freely. Known for her adaptability, fast DAW workflow in Logic Pro X, and ability to put vocalists at ease, she brings both technical skill and emotional sensitivity to her work.
Producing since 2018, she began on GarageBand on her iPhone. After graduating from high school, Bess joined the band Lighthouse Mouse (indie/rock), but was halted by COVID-19. As restrictions eased, the band began booking gigs and worked their way up to be booked alongside Holy Holy and Girl and Girl for UQ’s 3,000+ attendee toga party. Bess then oversaw the formation of her current project as the lead singer and guitarist of Red Hill (indie/folk/rock) and began joining the lineup on bass for other projects such as Georgie Taylor, Cheap Date, Hayley Marsten, THE ZON and Leevai and The Jeans.
In 2023, Bess was selected to be part of the Airlock Studios Immersive Program, run by Em Hopely and Anna Laverty, where she secured confidence in her producing and engineering, as well as a love and desire for facilitating all-female studio environments. After switching from a film to a music major at QUT, she began improving her production skills, and in Semester 2 of 2025, she joined the Vermillion Records production team.
Triple J’s Home and Hosed host Anika Luna writes, "there's something about Hag's arrangements that I find really encapsulating - I love the way they create an almost new and exciting sonic world! I've got a keen ear on this project".
What I Do
I blend production, mixing, and musicianship, and shape songs from their first spark to their final polish.
Producing
I produce songs from concept to completion, helping artists shape their sound and vision in a collaborative, supportive environment. My focus is on capturing authenticity while building arrangements that feel intentional, dynamic, and emotionally resonant.
Mixing
I mix with an emphasis on clarity, warmth, and depth — enhancing the artist’s intent without losing the character of the performance. Every mix is treated as an extension of the storytelling, not just a technical process.
Session Player
As a session bassist, guitarist and trumpet player, I bring versatility and musical sensitivity to every project. Whether laying down foundational grooves or adding subtle textures, I aim to elevate the song while complementing the artist’s unique sound.
What is
Vermilion Records is a not-for-profit, student-run record label at Queensland University of Technology in Meanjin (Brisbane), Australia. Featuring a roster of young, emerging talent consisting of both current students and alumni of QUT.
My Role
My role within the label was primarily that of a producer. Drawing on my experience from previous projects and coursework, I collaborated with and produced six different artists over the span of one semester.
My Work
I joined Vermillion in Semester 2 of this year and immediately began producing for Hati, one of the artists on our main roster. With only a few weeks to complete the track, we delivered a polished final product. Around the same time, I worked closely with Beake, contributing to the recording process and helping refine the sound of her project through additional production input. Once I’d settled into the role, the production team shifted focus to Vermillion High — a project recording nine high school artists and bands. I initially worked with solo artist Emily Chen, but was later asked to help record both bands on the lineup (Pap Smear & The Mammograms and The IPES). I also played bass, guitar, and recorded drums for HARLAN’s sessions.
Click on the images below for more info on each project!
Hati - Tiny Tower
Emily Chen - 24
Beake - World Within
IPES - One Time
Pap Smear & The Mammograms - Bell Tower
HARLAN - 17
Vermillion High Showcase
Beyond individual productions, my role at Vermillion extended into some real-time live event coordination and technical support for the Vermillion High Showcase — an experience that tested my adaptability, communication, and leadership in a fast-paced, public setting.
Key Contributions
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Provided on-stage coaching and artist support for Pap Smear & The Mammograms, IPES and Emily, who was nervous ahead of her performance. I offered practical advice for managing stage fright and ensured she was supported by a reliable band (Sylvie Morse and Jacob Mills), creating a calm, professional environment that allowed her to perform confidently.
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Adapted the set order in real time after learning about the technical requirements for Emily Chen’s performance. When it became clear that her set required a laptop for backing track playback — which hadn’t been organised — I quickly sourced a solution by locating Lui (Vermillion artist and head producer) and arranging the correct playback link. I also reorganised the performance schedule, moving Emily’s set to precede Isabelle’s (whose live tech was handled by Lui) to streamline transitions and reduce setup time.
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Collaborated with A&R, events, and media teams to align creative and technical objectives — particularly for Emily Chen, this meant helping Emily's team (Millie Tagney and Hannah Jones) organise band practices for the gig.
Reflection
Beyond individual productions, my role at Vermillion extended into real-time event coordination and technical support for the Vermillion High Showcase — an experience that tested my adaptability, communication, and leadership in a fast-paced, public setting. Working with the students was incredibly rewarding; it was refreshing to see a new wave of young musicians grow in confidence and turn to me for guidance on something I’m deeply passionate about — performing live. Having played over 200 gigs myself, mentoring these emerging artists felt like a full-circle moment where my experience could genuinely support and inspire others.
Team & Technical Contributions
(Across All Projects)
Across all Vermillion projects, I contributed to both creative development and the operational backbone that keeps production workflows professional and efficient.
Key Contributions:
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Maintained consistent communication between A&R, events, and media teams to align artistic vision with logistical needs — ensuring that deliverables like mixes, promo materials, and assets were completed on time and to standard
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Researched and implemented new production techniques, refining my approach to drum mixing (particularly tom mixing and bus processing) and improving take-folder grouping organisation for faster comping and cleaner project sessions
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Managed technical delivery standards for all releases, preparing final mixes for mastering and double-checking loudness levels
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Developed an Excel-based project tracker during mid-semester break to streamline scheduling, feedback rounds, and mix revisions across multiple projects — improving transparency and accountability within the team.
“Excel tracking sheet designed to manage project timelines, mix feedback rounds, and delivery deadlines across the Vermillion production team.”
During mid-semester break, Millie Tagney (Vermillion High Manager) created the initial Excel schedule for the production week. This was when the team did most of our recording for this project, as the studios were free while the high school students were on holidays. I was responsible for coordinating recording sessions for three separate bands within that same week, which proved challenging to visualise using the original spreadsheet format. To streamline the process and better manage overlapping sessions, I redesigned the schedule into a clearer, calendar-style layout, allowing for a more intuitive view of studio availability and time allocations.
Vermillion High Timetable
This is my collection of the time I have spent on each Vermillion High project, totalling 90.82 hours
Reflection
This semester in Situated Creative Practice (SCP) has been one of my most challenging yet rewarding experiences as a producer. At times, I definitely bit off more than I could chew — taking on multiple Vermillion High projects alongside my ongoing work with Hati. While I’m proud of what I achieved, it also taught me a lot about boundaries, workflow management, and sustainable collaboration.
There were moments when I didn’t feel entirely supported by my production team, particularly during heavier project weeks when I could’ve used more feedback or shared responsibility. Part of this was due to workflow incompatibility — I primarily work in Logic Pro X, while Angus uses Ableton and Jacob uses Pro Tools — which made session sharing difficult. I’ve learned that technical alignment and communication are just as vital as creative synergy in a production team.
The role of assistant producer varied in usefulness; sometimes it provided an extra set of ears, but often it became more of a distraction. Still, those experiences pushed me to be more decisive and to advocate for what the session needed in real time - especially in deciding to have a closed session for Emily Chen's vocals (as she is quite a shy vocalist).
My favourite moments were when I was operating from my strengths — producing Hati’s “Tiny Tower,” leading session musicians for Emily Chen, and performing as a session player myself for Harlan, Beake, and Emily. I loved being both the creative driver and a supporting musician, and I realised that both roles are integral to who I am as a practitioner.
On the other hand, vocal editing became a point of fatigue — I spent far too many hours fine-tuning takes. By the end, I learned to delegate more effectively, asking Angus to finish vocal editing while away in Melbourne. That process reminded me that trusting others and sharing the load is part of professional collaboration.
If I had my time again, I would focus on depth over quantity — taking on fewer Vermillion High projects and dedicating more time to developing additional tracks with Hati. That balance would have allowed me to refine my production style further while still maintaining the joy and curiosity that fuel my best work.
Overall, this semester has been about recognising both my capacity and capability — learning when to lead, when to support, and when to let go. It has strengthened my identity as a producer who values emotional intelligence just as much as technical skill, and reminded me why collaboration — when done right — is the most fulfilling part of the creative process.
Contact
I'm always looking for new and exciting opportunities. Let's connect.
123-456-7890