Since its inception, jazz has defined – and redefined – the world of music, transcending conventional boundaries and reconfiguring artistic paradigms. One of its contemporary instalments is Jasper Attlee’s current creative channel: Berlioz. Formerly monikered Ted Jasper, Attlee burst into the musical consciousness with his debut release, “nyc in 1940” (2022), quickly embedding his name into the minds of jazz–lovers globally. This stratospheric rise was evident on Monday evening, as Attlee returned to Bristol just eleven months after his last visit, this time performing to a crowd more than four times the size of his previous one. Alongside his elevated capacity, Berlioz also brought with him a fresh discography featuring his debut album, “open this wall” (2024). Combining both the heightened South West crowd and a new, acclaimed body of work, the evening was perfectly preluded to be nothing short of unforgettable.
Upon entering the Bristol Beacon, there was a palpable buzz that permeated throughout the evening’s venue, with the vast majority of the 1,800-strong crowd arriving early to seek refuge from the final embers of the winter cold. Murmurs of anticipation echoed from every wall of the concert hall, as the awaiting audience bargained with one another for the best vantage points. As the onlookers grew in number, Usher Lavelle arrived on stage to enthuse Berlioz’s fans prior to his arrival. Known for his radio show, Zone 68, in which he promotes some of the world’s brightest emerging artists, Lavelle flawlessly balanced the sounds of rising stars with a few interspersed classics from the greats – even making a homage to the South West’s Portishead. With Berlioz’s entrance drawing ever closer, Lavelle exited the stage, leaving a crowd united in their eagerness for one of jazz’s modern giants.
As the clock struck nine, the ongoing cheers and cries from the crowd reached a crescendo as the stage lights dimmed and a guiding torch shone the path for Berlioz’s band to enter the fray. Alleviating the audience from its anticipatory state, orchestral undertones began to slowly fade in – it was “ascension”, the opening track to Berlioz’s debut album. Yet, there was one figure missing from the stage, Attlee himself. The song progressed, the powerful strings slowly became paired with light, yet effective, piano trills and bass playing; then Berlioz walked on stage. Greeted with a roar from the Bristol crowd, Berlioz positioned himself on an elevated plinth, centre stage – dimly lit by a small table lamp and the illuminated botanical artwork that adorned the platform. Now ready, the scene was set for the night’s musical voyage.
Joining his three bandmates for “ascension”, Attlee began to ripple drum loops into the song, before steadily exploding into his signature sound: jazz-house. Captivated by the seamless coalescence of genres, another wave of applause bounced around the Bristol Beacon as fans watched in adoration. Wasting no time following the conclusion of his opening track, “miro” began to play. In many ways, this track is symptomatic of the Berlioz project as a whole. Sampling an interview with MoMA’s art curator in 1993, the vocals discuss Joan Miró’s artistic struggles. Similarly, Berlioz has often described his previous project, Ted Jasper, as a pseudonym that he had grown too attached to – something that restricted his artistic expression. Utilising symphonic undertones once again, a house drum loop merged with the rest of the song, before returning the concertgoers to a frenzied dance. The emotive soundwaves were lowered and Attlee took a moment to welcome the packed Bristol crowd to the penultimate show of his UK tour, thanking his supporters for the unwavering passion shown towards the Berlioz project. In response, the bustling audience responded in appreciative cheers – relishing what had been the perfect start to the evening’s proceedings.
From the Beacon’s balconies, the audience was treated to a breathtaking view. All around, people were on their feet, swaying in unison, irreversibly immersed in the atmosphere that Berlioz had produced. Having begun the show with some notable tracks from his debut album, Berlioz continued in that fashion with “peace”; another song that embodied the night’s artistic intention, underpinned by the lyrics “extremely powerful and it just seems right”. Undoubtedly, this track held with it one of the show’s multiple highlights – a solo introduction from Attlee’s saxophonist. With a singular spotlight beaming down on the woodwind section, the audience became encapsulated – breathless and absorbed. In a similar fashion to the preceding songs, Berlioz conducted his fellow bandmates to join the aerophonic masterpiece that had unravelled in the minutes prior – before gradually introducing another of his notable pieces “wash my sins away”. For the musical congregation, it was here that one thing became truly clear: the Berlioz project creates music to momentarily unite strangers through a common passion… jazz.
Unwavering in its desire to maintain the transfixed Bristol audience in an almost hypnotic state, the set progressed – exploring the deeper parts of Attlee’s discography – featuring songs such as “hot slow”, “ode to rashaan” and “jocelyn’s dance”. Continuities of effortless synthesis between the quartet on stage, supported by Berlioz’s signature house beats, persisted to answer the hopes of the crowd – building anticipation with every jazz-ridden oscillation. Amidst the fervent jiving, the lights dimmed, and the vocal affirmations “jazz is for ordinary people; jazz is ordinary people; it’s the music of the young” rippled throughout the concert hall, pushing the viewers to enter an almost reflective disposition. While effective, this did not last long as Jihad Darwish’s sitar overtones from “r&r” took over, returning Attlee’s ardent followers into their previous dancing movements. Seamlessly, as had been evidenced throughout the show, Berlioz utilised his Fred Again.. style beat pad to control the flow of the proceedings – this time upping the tempo to match that of his debut, and hit, single “nyc in 1940”. As the infectious vocals, accompanied by the audience, seeped through, there was a moment of almost spiritual reverence. With sounds epithetical to Berlioz’s pioneering musical ancestors, the set began to find its final notes in “something will happen” – seeing the band find their way off stage and the lights darkening behind them.
With the ensemble off stage, the South West spectators grew relentless, growing in their cries for one more song. One by one, the band returned, much to the delight of the eager crowd. In a familiar fashion to the night’s dynamic set, Attlee’s saxophonist took lead once again, only to be met with a loud roar as the opening notes of “deep in it” reverberated through the Bristol Beacon. As the final songs played out, a standing ovation swept across the venue, signaling the encore’s end and the finalisation of the night as a whole. Upon exit, the atmosphere was markedly different from that prior to the show – fans seemed relaxed, almost as if they had undergone a therapeutic experience.
It is undeniable that Berlioz has firmly established himself as a powerhouse in the contemporary jazz sphere over the past few years – and much like his musical predecessor Bill Evans, it is clear to see why everybody digs Jasper Attlee.
Role - I am a passionate writer with an interest for reviewing concerts and music.
Available For - Gig reviews and artist interviews.
Qualification - Currently I am studying BSc in Politics and International Relations at the University of Bath.
First Concert - The first concert I ever attended was Coldplay at the Royal Albert Hall (2014). It was to promote the release of their ‘Ghost Stories’ album. I will never forget the call my dad gave me to say he had managed to get two tickets for the both of us. The whole experience was just pure joy. The relative intimacy (for Coldplay) of the Royal Albert Hall, will always make that night one of the best (if not the best) concerts I have ever attended.
Dream Concert - In all honesty this is too difficult to answer with just one concert. If I were to select a few artists that I would love to see, it would have to be: Hope Sandoval, feeble little horse, Greg Foat, Kurt Vile, Lucy Dacus (specifically playing ‘No Burden’ in its entirety), Jadu Heart and The Moldy Peaches.
There is also the difficulty of dream gigs that are not able to be done. These would be: Mahalia Jackson, Etta James, Ann Peebles, Karen Dalton, Leon Russell, Mojave 3, The Smiths, and George Harrison (“All Things Must Pass” just from start to finish).
