Michael McSweeney is a versatile percussionist, bandleader, educator, and arts administrator/entrepreneur based in the DMV (DC, Maryland, Virginia) region. His work is rooted in a curiosity about how musical traditions develop, how they evolve, and how musicians can engage with them thoughtfully while exploring new possibilities.

Born in Chicagoland and raised in a suburb of Indianapolis, Michael began studying piano at age nine before moving to percussion a few years later. By his early teens, he was deeply involved in local community theatre, performing in pit orchestras for more than ten productions before graduating high school while also participating in school music programs. Those early experiences helped establish both a love of collaboration and an interest in the many different roles music can play across styles and settings. He went on to earn a B.M. in Percussion Performance and a B.A. in Arts Administration from the University of Kentucky, continuing on to earn an M.M. with studies in World Music and Jazz from Northern Illinois University in 2017. Throughout his academic career, he developed particular interests in West African drumming, Afro-Cuban and Caribbean music, steel pan, jazz, modern percussion, and global fusion.

Beyond the classroom, Michael has had opportunities to study and perform in Ghana, Trinidad, Colombia, and Bali, where he was able to immerse himself in the cultures that have shaped musical traditions for generations. These experiences continue to inform his approach, reinforcing both his respect for the cultural roots of these traditions and his interest in exploring them collaboratively.

In 2016, Michael founded Costas Colectivo, originally under the name Salsa del Norte, as a way to continue exploring Afro-Cuban music outside of academics. What began as a practical outlet became one of his first significant experiences creating his own artistic path. The group has since developed into an ongoing vehicle for his passion for Afro-Cuban and closely related music as well as a way to collaborate with musicians who share that interest in both Chicago and Washington, DC. They have been featured prominently in festivals including Shedd Aquarium’s Jazzin’ at the Shedd in Chicago and the National Cherry Blossom Festival’s Petalpalooza in Washington, DC, and their 2019 debut album Lienzos is available on all major streaming services.

That same year, Michael also formed the earliest version of Hiraeth Project (originally Hiraeth Quartet). Initially conceived as an Irish fusion quartet featuring percussion, guzheng, guitar, and various flutes, the project quickly evolved into something much more globally collaborative, intentionally featuring each musician’s distinct traditions and backgrounds. After several years away from the project, Michael returned to the idea as part of his 2026 residency at Strathmore, reimagining Hiraeth as a flexible collaborative ensemble built around a core rhythm section and featured artists. With Chris Hon on keys and synth, Grant Le on bass, and Asadali Bandeali on percussion, the group has since performed live at venues such as The Mansion at Strathmore and The Kennedy Center, and they continue to develop new music and collaborative partnerships.

In addition to performing with his own groups, Michael has worked across a wide range of genres on drum set, timbales, congas, auxiliary percussion, hybrid setups, and many other specialized configurations. He has shared stages with renowned artists such as Gaby Moreno, Warren Wolf, Chuck Redd, Cathy Fink, Chelsey Green, Christylez Bacon, Andy Narell, and Jeff Coffin and has performed at venues including The Kennedy Center, Wolf Trap, Strathmore, and Blues Alley. His work has also extended into recording studios, where he has contributed as a drummer, percussionist, and producer.

Education has remained an equally important part of Michael’s work. He has taught private students in drum set, hand percussion, concert percussion, steel pan, and piano as well as group classes, camps, workshops, and educational performances in the US and abroad in Ewe drumming, Afro-Cuban music, Balinese Kecak, steel pan, global music collaboration and fusion, and Foley art. His teaching is similarly rooted in curiosity, encouraging students to understand where musical ideas come from, engage with them respectfully, and explore where those ideas might lead.

Alongside his performing and teaching, Michael has built experience in arts administration and production, including work in live event and studio recording production, touring, rehearsal facilities, music schools, community arts organizations, radio, and more. These roles have reinforced his belief that meaningful artistic work depends not only on what happens on stage, but also on equitable systems, relationships, and environments that allow artists and audiences to connect.

Passionately committed to building bridges through music and inspiring similar curiosity in the next generation, Michael remains driven by his own curiosity about how diverse musical traditions around the world can inform and inspire each other. Whether performing, teaching, producing, or building new projects, he aims to create music and educational experiences that are thoughtful, adventurous, culturally conscious, and deeply collaborative.