Pedro Lima Soares has proved to be one of the most active, challenging and relevant figures in contemporary Portuguese music. His music seeks to explore the sound universes of an eclectic milieu, adjacent to someone who grew up listening to electronic music, hip-hop and was part of a progressive rock band growing up. So-called "classical" composition has turned out to be the perfect blank canvas, where a series of timbral, harmonic and structural "investigations" have taken shape, and unique ideas have manifested themselves in his scores, taking on different forms and expressions that vary according to the context they are intended to exist in. Relationship with the text has always been paramount, whether in collaboration with other writers or as a mere sparking process for any piece of instrumental music (as he himself says). The collaboration he has developed with librettist Gareth Mattey, since his years in London, is of the utmost importance and has revealed itself in ideas, words, phonetics and the way they all intervene in conceiving a refreshed musical discourse. "Talkin(g) (A)bout my Generation" is a celebration of just that. Exploring boundaries and (perhaps) breaking them down has been one of the flagships of his work and it is in the prolific diversification of what he produces that he has found his style and his voice. 

A graduate of the Calouste Gulbenkian Conservatory of Music with his first professor, Paulo Bastos. This was followed by a journey to Lisbon where he furthered his studies in music writing with João Madureira, António Pinho-Vargas and Carlos Caires, but it was with Luís Tinoco that he developed the most in-depth relationship, going on to complete a master's degree dedicated solely to composition. In 2017, he travelled to London where he completed his master's degree in Opera Making & Writing with distinction at the prestigious Guildhall School of Music and Drama, under the tutelage of Julian Philips and Julian Anderson. This course gave rise to a Chappy) collaboration with the English librettist Gareth Mattey, with whom he has since written several operatic and musical works. 

The first piece he wrote for orchestra, ONCE AGAIN Eternal Goodbyes (2015), premiered at the mythical Konzerthaus in Berlin in 2015, when he was just 22 years old. That same year he was a finalist in the "Concurso da Banda Sinfónica Portuguesa" (Portuguese Symphonic Band Competition) with his work Sopro do Côncavo (2015), which has since been performed many times in Portugal and abroad. This work has been released on CD by the Portuguese label mpmp. 

Winner of the Portuguese Society of Authors Composition Prize in 2016 for his work e tu, de min voaste (2016); Young Composer in Residence at Casa da Música for the 2019 season, where he composed Talkin(g) (A)bout my Generation (2019) for the Remix Ensemble, a work that, a few years later, would be honoured and recommended in the "under 30" category at the International Tribune of Composers in Serbia in 2021. 

His catalogue of stage and vocal music includes the chamber opera Reel Woman (2018), the community opera 0 tempo somos nós (2022), with young inmates from the Leiria Prison and the Gulbenkian Orchestra, and the stage cantata Delícia de Morangos e Chantilly (2023), in collaboration with the Contratempus Quartet and the Portuguese Symphonic Band. 

Pedro has also made a name for himself with musical creations from alternative partnerships, such as the one with the Corredoura Folkloric Group (Guimarães), which gave birth to the show O meu Velho diz que morre (2022) with choreography by Maria R. Soares; the show LUZ (2021), an immersive and long-lasting performance in collaboration with Manuela Ferreira and José Álvaro Correia, or the electronic composition for the audio-walk ACUSTICIDADE, a project by Braga Media Arts in collaboration with the ondamarela colectiva.