He is endorsed by leading US percussion Instrument maker: Latin Percussion, has trialled instruments for Roland and released over eight albums through major labels.
He has performed and recorded with Keith Carlock (Sting/John Mayer), Bruce Mathiske, James Morrison, John Paul Young and the All-Stars, Lachy Dooley and many more.
Listen to Manning's compositions for Clap Sticks & Sound:
Manning is also a significant digital content producer. Check out some of his work:
Art - Design
Learning from Elders who attend the Guparr Aboriginal Mens Shed. Manning's art focuses on combining both traditional and modern patterns.
His artworks are located in Murrook Cultural Centre, The University of Newcastle, Government Social Service buildings in Sydney, Melbourne, Canberra, Hobart, Bendigo (gifted by senior executive J Cassar); and has commissioned infrastructure design works through Port Stephens Council, and a sensor installation through Lake Macquarie City Council.
He is the only Australian percussionist/artist to combine both skills in a live onstage performative context with world renown guitarist Bruce Mathiske: https://www.mathiske.com/guitar-artistry.html
For more of Manning's arts works - see Manning's Instagram page: https://www.instagram.com/adam_d_manning_/
Or check out his OpenSea Account: https://opensea.io/Dream-time
Manning's projects include producing Newcastle’s first VR music concert, producing Newcastle’s first 360 live stream performance, facilitating and documenting Australia’s first music and robotics workshop for school-aged students and producing a series of social collaboration works with prominent Australian artists. He has published research papers with Claremont University, USA, Common Ground Publishing, Champain Illinois, and has presented on Indigenous yarning techniques and VR/360 performance techniques at Monash University, Melbourne & UON's Fast Lab: https://fastlab.soci.org.au
As an original Custodial Descendant of Kamilaroi Barray (Land), and a composer/percussionist and artist/designer, rhythmic expression connects me to Land, People, Culture and Story and articulates the natural frequency (heart beat) of Ngaya Barray (Mother Earth). Given this, my rhythmic expressions are articulated in varying forms. In the main, these varying rhythmic forms/expressions are both old and new, and or cross-disciplinary. Therefore, where First Nations rhythms are expressed, I appropriately discuss their use with community prior to referencing these rhythms.
For example, if performing or recording traditional First Nations rhythms or cultural expressions, I consult the application of these rhythms and cultural expressions with Elders from the community in which they originate as a priority. Additional consultations will also include either The Wollotuka Institute and their Nguraki (Elders/Cultural Mentors), UON's Office of Indigenous Strategy and Leadership, Purai Global Indigenous History Centre, UON's FASTLab, Guparr Aboriginal Men's Shed and or Worimi Aboriginal Local Land Council, where I'm a member. Furthermore, should any musical cultural rhythms become available for commercial release after the above consultations, I speak with the National Aboriginal & Torres Strait Islander Music Office (NATSIMO) at APRA AMCOS for guidance.
If any of the above parties suggest the royalties from my works should go back to community, I follow their guidance. Furthermore, if approached to Acknowledge Country using rhythm, I request that a local Elder joins me. In conclusion, where traditional rhythms and cultural expressions are artistically resurfaced in any of my practices, it is my commitment that these rhythms are shared appropriately and my intention that they are a celebration and honouring of my culture and practice with the broader community.