Review: JULIA BULLOCK AND BRETTON BROWN, Bold Tendencies

Since 2007, Bold Tendencies has been bringing “radical practices, new generations of talent, learning opportunities and sought-after disciplines to Peckham” - and judging by the performance I saw: Julia Bullock and Bretton Brown, the original mission is still very much in full swing.

Bold Tendencies is housed in the rooftop spaces at Peckham's multi-storey car park just off Rye Lane. I arrived in rain (#londonsummer), but the view is still breathtaking regardless of the weather.

The performance took place one level down in the “concrete concert hall”, and is one I won't be forgetting anytime soon.

This year's theme for the summer season is Communion. And in relation to this, Bullock seems like the perfect choice of artist.

Renowned the world over, and referenced as the muse of John Adams, Bullock brings a depth to her singing far beyond the veritable skill (epic and intimate) of her instrument.

During the 1hr programme Bullock spoke, concisely, of her youth, training and present day concerns. All of this started to paint a picture of the complete artist in front of us: a 37 year old woman who is socially aware, socially active, a feminist and unafraid to use her art form as a mode of communication; Communion.

The programme was richly diverse, introducing new composers (to me) and reframing existing ones through alternative perspectives.

Bullock was joined by pianist Bretton Brown. The pair work together often, and it shows through their symbiotic relationship. Bretton arranged a number of the divertissement, and played with gravitas throughout. He has wonderful posture at the piano, which allows his arms to work so freely as they switch between Rodgers and Hammerstein and Francis Poulenc.

Elsewhere Bullock sang additional work by Connie Converse, Kurt Weill, Alban Berg, Bob Dylan, Antonín Dvořák, C. Austin Miles, Elizabeth Cotten and Odetta.

As discussed, Bullock actively uses her platform to uphold those she feels need representation. Converse, Cotten and Odetta lead in this agenda, and I for one appreciate the introduction, and the opportunity to witness Bullock sing the songs of these women that clearly mean so much to her. Nothing can imitate this simultaneous communication of respect and release.

Personally I found Bullock exceptional in the Poulenc repertoire where she revelled in both the dramatic and comedic opportunities up for grabs. She described ‘Non, Monsieur, mon mari’ from Les Mamelles de Tirésias as a feminist revolt, and she isn't wrong. As when looking at the translation the lyrics read:

I’m a feminist, I’m a feminist,

And I do not acknowledge the authority

of men.

Besides, I want to behave as I please.

Men have done as they pleased for a

long time.

The whole experience was one of skill and authenticity, though even after 17 years, Bold Tendencies still has some teething problems. To be clear: I love what they've done, and continue to do, but in reality, periods of the performance were basically ruined by sound pollution.

Reality check: I'm aware we're in a multi-storey car park in Peckham, and I have no issue with atmospheric, city soundscapes. But when a local bar is loudly playing a bad remix of Britney Spears' "Toxic" as Bretton is about to embark on some seriously avant-garde piano techniques, one can't help but ask - surely this can be handled differently?

Bullock even beat her own chest at this point, remarking on how loud it was, but she did this all with humour and good taste. She may sing like a diva, but doesn't behave like one, as I'm sure many others would've quit some 10 minutes earlier.

I mention this because what Bold Tendencies offer is special, and should be able to be experienced in the manner it deserves, no matter the location. Here's hoping performance time slots and/or soundproofing options are contemplated ASAP.

As for Bullock & Bretton: absolutely mega work, and I'll be at any future London performances they deem the city worthy of.

Communion at Bold Tendencies runs until September 14

Photo credits: Dan John Lloyd

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