TULLIS RENNIE
- Mel Elliott
- Aug 18, 2025
- 5 min read
Updated: Jan 5
Tullis Rennie is a sound-explorer of many parts: part improvising trombonist, part electronic musician and part composer. Often to be found performing live around town, sometimes accompanied by digital animations and alongside many local collaborators. I chatted with Tullis about his work, background and musical style.
Interview by Mel Elliott
Did you always want to have a music career?
I think from a pretty early age, music was the thing I obsessed over most. I was in bands aged 7 or 8 onwards, taping late-night radio shows to listen to on my paper round the next morning as an early teen, poring over copies of music magazines... that sort of thing. I'm not sure I knew then how to make a career out of it, but definitely wanted to be involved in it as much as I possibly could.
What is your music educational background? (If any)
I had piano and trombone lessons as a kid, and I've studied music formally at various points, including at University. I did a degree course in Manchester that was very straight-laced and I spent much of the time trying and failing to fit in... but also met amazing and inspiring people on the periphery there, and was introduced to free improv, electroacoustic music, creative studio practices... In some ways I spent much of my 20s then trying to grab hold of that weirder experimental stuff, and to rid myself of the baggage of the formal 'classical' training I received, in order to find my own pathway as an artist working in sound and music. It's pretty geeky, but I also have a PhD in Sonic Arts, from an amazing place called SARC in Belfast. I had a fantastic time there. I spend some of my time now teaching on a University course, essentially trying to encourage the students in the ways I found helpful – with as little formality as possible, and an emphasis on individual creativity.
How would you describe your musical style?
I find this pretty difficult to do! It's quite eclectic and scattered, depending on the project. I try to make music or sound events or performances that are inclusive and also deeply textured and immersive... where people might feel invited in, and that they can sort of swim around that sound environment, and explore things for themselves inside a new, unfamiliar but intriguing and inviting world. I rarely repeat things, I'm always on the lookout for something that sounds new to me. That's not an answer, is it?! I guess I think of 'style' more as 'approach' or 'process' or 'method' – often improvised, always exploratory. I regularly use analogue electronics, field recordings, the trombone, objects and microphones. I can't bear the reductive idea of a genre tag (electronica, free jazz, avant-garde, etc).
Photos by Dave Brown
What does a typical work day look like for you?
Most weeks are different – which is something I thrive on, and is only possible thanks to my long-suffering family. I'll spend a couple of days a week in my studio shed, recording, rehearsing with someone, improvising, preparing for a performance, working on a composition project. My teaching work takes up a few days per week and normally includes making at least one trip to London. More weeks than not I'll have a gig - sometimes in Hastings, across the South East, maybe further afield in the UK or occasionally abroad. Then there's the Two Ship events I co-promote with fellow West Hill residents Olie and Tania. Around that there's the admin and hussle of a freelance musician/artist – a lot of emails, writing funding bids, trying to document/archive projects, and the dread of social media.
I was in bands aged 7 or 8 onwards, taping late-night radio shows to listen to on my paper round the next morning as an early teen, poring over copies of music magazines
Collaboration is a big part of your work. Tell us about some of the collaborative projects you’ve been a part of.
I really get a lot from collaboration. Right now, I'm enjoying working in an all-Hastings trio with Anthony Moore and Olie Brice as OBTRAM3 – we have two records coming out this year. I have a long-standing collaboration with Cath Roberts, and we're working on a new wave of activity, including a performance-installation hopefully in Hastings this September. I've been enjoying a recently-formed trio with Kate Carr and David Birchall – we'll play together at The Beacon on Sunday. I've got slow-burn projects on the go with brilliant Hastings-based musicians Ruby Colley and Tara Franks. Last night I was performing with Ellie Westbrook – she's a force of nature and an inspirational human. We made something pretty wild and bizarre, I'm hoping there's more of that in the pipeline...
Your book is coming out soon, what will readers gain from reading it?
The book I've been working on is called Situated Listening: Attending to the Unheard (Routledge). It's all sorts of viewpoints from across the world about how creative practices of listening might help us navigate the times of crisis (environmental, social, political, economic) that we're living through. It's been an entirely collaborative process – 4 co-editors (of which I'm one), and nearly 40 authors. With all 15 chapters co-authored, there's not a single authorial voice/position in the entire book. It has been a labour of love over the last 5 years, and I'm very pleased to see it come out.
What gigs or projects do you have coming up in the near future?
The album releases with OBTRAM3, working with Cath on our duo, and launching the new book – all of which I mentioned. I'm also starting work on a new album with my 'Safe Operating Space' quartet, which should come out next year, and also recording projects with local artists Ruby Colley and Tara Franks.
What brought you to the area and do you think living here encourages you creatively?
Fiona, my wife, was born and brought up in the area, although it was me trying to convince her that a move (back) to Hastings would suit us and our young family. It was a great decision, everyone loves it. I've found Hastings to be incredibly creative and inspiring. For a town of its size there are a ridiculously high percentage of talented people doing amazing things. I've found collaborators and audiences here, and feel welcomed into a thriving artistic community that I know has been established for a very long time.
Do you have any advice for anyone wanting to make a career out of music?
Make the thing you'd want to hear, and that no-one else has made, yet. Share it with others. Listen attentively to your gut instinct. Work with your friends.
Where can people listen to or buy your music?
Bandcamp is the best place to support independent artists: tullisrennie.bandcamp.com
The OBTRAM3 records will come out on Half Cat Music: halfcatmusic.com
Comments