ARTIST SPOTLIGHT: JESS BRYANT

Artist Spotlight is our regular feature introducing you to Cities and Memory artists around the world with an in-depth interview. In this edition, we introduce you to London-based musician and composer Jess Bryant, who tells how growing up surrounded by singing, and working as a music therapist have shaped her practice. 

Tell us about your practice, Jess:

Songwriting and composition have been my main focus over the years, but I became really interested in composing work using found sound when I discovered the Cities and Memory projects. I find it creatively freeing to have no expectation over what I should or shouldn’t do with a sound and it is quite different to my usual practice of composing and writing songs from scratch. I feel I am able to be more abstract in my approach.

 

I am a music therapist by day and am always thinking about ways of connecting with the children I work with through sound. The way we connect and interact is so varied and fascinating. Sometimes even the breath is a tool in my work. I recently did sound therapy training and think there are some interesting parallels between the music therapy world and the sound therapy world.

 

What does it sound like where you're from?

Bustling, busy city streets.

 

 

How did you first discover a love of sound in your life?
I grew up in a singing family. Most family occasions are accompanied by a song (often written or adapted for the occasion) and singing around the table a cappella was a familiar part of childhood. There is something very special about group singing, the sound of ourselves coming together, the beauty of being surrounded and held by close harmony.

JESS'S CITIES AND MEMORY SOUNDS

What is it that you love most about what you do?
I feel very fortunate to be able to create music. It fulfils a deep need to express parts of myself that I cannot express in any other way. I often wonder what I would do with myself if I didn’t have the catharsis of music making. This is probably why I am a music therapist! I want those I work with to have that same release and solace. I think everyone should have that right.
Can you share an example of your work with us?
Dwelling, my new album, is something I have been working on for the past few years and is a piece of work which is particularly important to me. Writing it at the piano was an inspiring experience as I usually use the guitar for writing songs and it opened up a wealth of possibilities in terms of rhythmic and harmonic structure.

 

What's a contribution to Cities and Memory that you're proud of, and can you tell us a bit about it?

I’m quite attached to my piece ‘Spirited Away”, which I did for one of the Spring projects, as this was my first involvement with Cities and Memory and I loved realising that I could play around and create in this way. I really value the fairness of the project and how there is no gatekeeping over who is involved. All are welcome to share their interpretations.

 

Recommend us some of your favourite artists!

The producers of Dwelling, HELIOCHRYSUM (Daniel Lea and Michael Deragon) create beautiful thoughtful work, both as a duo and individually. I have a long term love of Sparklehorse and recommend spending some time in Mark Linkous’s sad and beautiful world.

 

 

What's a sound that has a particularly important significance for you?

Apart from singing, the sound of the sea and its surrounding environment. Though I was a city child, I spent a lot of time on the North Norfolk coast growing up. The sound of the wind whistling on vast empty beaches, stormy waves and reeds rustling on the marshes are a source of huge comfort and inspiration for me.

 

Time for an equipment nerd question! What is some of your favourite kit, and why do you love it so much?

I generally get excited about instruments and am very taken with my hammered dulcimer (such a beautiful sound, though I am a beginner on it). I also just bought a Nord Electro for live shows and I love some of the wonky nostalgic presets on there and the nice sturdy feel of the keys.

 

In a dream world I would own a proper upright piano which I could prepare to my heart’s content. I also wouldn’t mind a Prophet for the instant gratification of gorgeous sounds.

 

 

What are you working on next?

I am rehearsing with a band so that I can play Dwelling live and am also working on some stripped back piano songs which I will release under a different name in late November/early December 2026.