Described by The New Yorker magazine as one of the “prime movers of the local avant-garde”, and an “exacting avant-classical guitarist” by TimeOut NYPatrick Higgins is a New York based composer/performer of experimental music. Higgins has composed works for some of the nation’s leading classical ensembles, ranging from orchestral works, percussion cycles, and string quartets to smaller chamber ensembles and soloists. He has scored works for television, museum exhibitions, and films both short-form and feature-length. Higgins plays guitar and composes in the ensemble ZS, hailed by the New York Times as “one of the strongest avant-garde bands in New York.”
 
Patrick Higgins’ music has been performed internationally in over 18 countries, including performances at some of the world’s leading concert venues and music festivals: Merkin Concert Hall, Issue Project Room, Roulette, The Stone, 92Y Tribeca, (le) Poisson Rouge, Club Unit (Tokyo), Vacant Gallery (Tokyo), Donau Festival (Austria), Incubate (Netherlands), Berghain (Germany), Magazin 4 (Belgium), Sonic (France) and many more.
 
At South-by-Southwest: “it wouldn’t be entirely unreasonable to name Patrick Higgins the best guitarist of the 2013 event. By some combination of talent and a well-conceived rig, he makes breakneck playing look effortless.” -Premier Guitar Magazine
 
polyglot NYC composer” and “out-of-the-box classical guitarist” part of “New York’s generation of up-and-coming composers” – Time Out NY
 
classical composer [...] well known as a gifted guitarist at home on the more brutal, punky fringes of the prog-rock community” – The New Yorker

"[Bachanalia] is almost unstoppable. Relentlessly pretty. And sounding as though it's been Patrick Higgins' lifetime-achievement goal to sound flawless on guitar [...] Just, the most important part is performance. Watching the flow of [Higgins] music through their entire body floods your senses." - Tiny Mix Tapes

"The level of ambition and execution in this three-part, 40 minute long composition are powerfully matched, and the level of technique and the sheer amount of polyphony in this piece are actually stunning." -IMPOSE Magazine 

Mr. Higgins made his guitar chords chime and scrape and judder [...] it was also bright, severe, and specific.” – New York Times