Ricketson describes his music as "characterised by exotic sound-worlds and novel forms". An early interest in Spectral music can be seen in his frequent exploration of unusual timbres and microtonal pitch structures. "Some Shade of Blue", for example, features a newly invented string instrument in a just intonation system. Recent stylistic tendencies have moved away from an earlier abstract style, exemplified in works such as "Ptolemy's Onion", towards what the composer terms a more "corporeal" approach embracing tangible references to existing music and a highly physical performance aesthetic. His works are heavily gesture-focussed, with pieces such as "Imagining Le Verrier" and "Chinese Whisper" being based upon "sets of physical actions on instruments". This extends to the idea of open instrumentation in later pieces such as "Trace Elements", which is intended to be playable by any two string and two woodwind instruments. Indeed, much of Ricketson's recent work reveals an ongoing interest in open forms with works such as "Same Steps", "Length and Breath" and "Not by Halves" employing unconventional notational strategies to elicit a creative and collaborative engagement from performers. Ricketson's major show-length works such as "The Secret Noise" and "Fractured Again" also show an interest in multimedia and hybrid arts practice, combining conventional acoustic instruments with unconventional (sometimes self-built) instruments and electronic music as well as other media.