Speaking with BOLDEN. On Lost Notes, Found Voices, and the Future of Jazz
UK duo BOLDEN. is made up of multi-instrumentalists Reuben Barrett and Catherine Rannus, who bring together the spirit of jazz with the energy of electronic music. Since coming together in 2024, they’ve built a fast-growing audience, streaming millions of plays and selling out shows while keeping improvisation at the core of what they do. On stage, both switch between instruments, shaping each performance into something unique and unrepeatable.
Their new single, “Where are our voices.”, came from an unexpected moment, a lost voice note that turned into both the title and a central idea of the track. The song reflects on what it means to be heard, blending groove-driven production with BOLDEN.’s jazz roots. It’s the third single from their debut album, “Would appear to be jazz.,” which continues their approach of mixing tradition with experimentation while asking questions about the role of jazz today.
The single “Where are our voices.” started from a happy accident with a lost voice note. Can you share more about how that moment shaped the direction of the song?
We were working on the track and had recorded some vocal layers. Reuben sent an early edit to Catherine, but she couldn’t hear them and sent back a voice message saying, “Where are our voices?” That message ended up in the song–and it became the title. What’s funny is that it started as an accident, but the phrase really stuck with us. It speaks to something bigger: so many people don’t feel heard right now, and they’re raising their voices just to be acknowledged.
What do you hope listeners reflect on when you ask, “Where are our voices.”?
Everywhere you look, people are protesting because they don’t feel heard. Social media gives everyone a platform, sure, but turning that noise into real change is much harder. With so many urgent issues being overlooked by governments and leaders, it’s easy to see why people keep asking that question–where are our voices?
How do you want people who are new to jazz or skeptical of it to approach your music?
Jazz was once the dominant popular music of the 20th century, but over time, other genres took over. The good news is jazz has been going through a renaissance over the past decade, with incredible new artists pushing the sound forward. Our style—what we call jazz house—blends jazz with the rhythms and tempo of house music. It makes the genre more accessible while still keeping its depth and soul. We think that’s why our audience has grown so quickly: people are craving music with meaning and connection, and that’s what we’re trying to bring.
How does Catherine’s academic background influence the creative side of BOLDEN.?
I tend to approach melody and harmony from a more analytical perspective—thinking about chord extensions, voicings on piano, or how to improvise over tricky changes. That training helps me break things down in a way that opens up more creative possibilities.
Many of your songs blend improvisation with electronic rhythm. How much of the album was carefully planned versus captured in-the-moment experimentation?
At our core, we’re jazz musicians, so improvisation is always central. Most of our writing starts with experimenting and jamming. Then, when we’re finalizing a track, we listen back and pull out the moments we love most. Those become the backbone, and from there we shape the song into its finished form.
You’ve built a fast-growing fan base with millions of streams and a strong playlist community. How do you balance being both artists and curators in the jazz house space?
We see ourselves as artists first, curators second. But listening widely is part of being an artist. By absorbing so many different sounds, you sharpen your own taste and perspective. Curation, in that sense, isn’t separate–it’s woven into the creative process.
Catherine, you bring a unique perspective as a woman in the instrumental jazz house scene. Have you noticed shifts in how audiences or peers respond to that presence?
Honestly, I don’t know if I’ve noticed a big shift. I’ve been lucky in that I’m usually accepted as a musician first, regardless of gender. But the scene is definitely male-dominated, and I’d love to work with more women. We need more female voices in the industry. At the end of the day, though, good music is good music—whether you’re male or female.
Reuben, you’re self-taught on multiple instruments, while Catherine has a classical foundation. How do those different musical paths complement each other in your collaboration?
Our backgrounds really balance each other. Catherine’s classical training brings structure and depth, while Reuben’s self-taught approach is more instinctual and raw. Together, it creates a blend of knowledge, feeling, and creativity that makes the music work.
Your live shows are described as magnetic and improvisational. How do you prepare for performances that are designed to change every night?
Improvisation is the heartbeat of jazz, so that’s what keeps our shows alive. We stick to the outline of each track so it’s recognizable, but then we riff, play off each other, and let the energy in the room shape the music. That push-and-pull means no two shows are ever the same.
The name BOLDEN. honors Buddy Bolden, one of jazz’s pioneers. How do you see yourselves continuing the story of jazz in today’s musical landscape?
We’re not trying to recreate Buddy Bolden’s style–it was a very different era. But naming ourselves after him is our way of honoring the roots. We see ourselves as part of the larger tradition of jazz: building on what came before, fusing it with new influences, and pushing it forward. That’s how jazz has always stayed alive.