US Bass-baritone Davóne Tines celebrated American composer Julius Eastman's life and work with a Barbican residency, bringing attention to this pivotal figure whose maverick minimalist beats forged his reputation for artistic confrontation.
Tines tackled the sprawling output of Eastman, known as a composer, pianist, performance artist and choreographer who bridged New York's uptown and downtown arts scenes between 1970s and 1990. The eclectic mix on display showcased Eastman's fearless approach to music – be it 'Touch Him When,' featuring an electric guitar arrangement with Jiji, whose head-banging intensity brought the minimalist beats into sharp relief, or 'Piano 2,' a more refined tripartite piece presented by pianist Conor Hanick with calm authority.
For those uninitiated on Eastman's work, Tines and his collaborators brought key pieces into sharper focus. The 'Holy Presence of Joan d'Arc' was notable for its dramatic and contemplative take on medieval warrior and defier of gender norms – the original improvised prelude set to call from beyond the grave evoking a powerful moment in which Davóne Tines's voice commanded attention like fists in velvet gloves.
Another standout piece, 'Gay Guerilla,' brought together performers, dancers, choreography by Kyle Marshall and multiple musical forces including electric guitar. It was an intense display of Eastman's work that highlighted the shifting lines between sleep, death, sex and combat as his music grew in harmonic complexity to finally erupt with acerbic iterations of a battle hymn – timeless soldiers on stage moving to an increasingly sensual pas de deux.
Tines brought Eastman's diverse output together, bringing recognition to this groundbreaking musician whose fearless approach continues to inspire artists today.
Tines tackled the sprawling output of Eastman, known as a composer, pianist, performance artist and choreographer who bridged New York's uptown and downtown arts scenes between 1970s and 1990. The eclectic mix on display showcased Eastman's fearless approach to music – be it 'Touch Him When,' featuring an electric guitar arrangement with Jiji, whose head-banging intensity brought the minimalist beats into sharp relief, or 'Piano 2,' a more refined tripartite piece presented by pianist Conor Hanick with calm authority.
For those uninitiated on Eastman's work, Tines and his collaborators brought key pieces into sharper focus. The 'Holy Presence of Joan d'Arc' was notable for its dramatic and contemplative take on medieval warrior and defier of gender norms – the original improvised prelude set to call from beyond the grave evoking a powerful moment in which Davóne Tines's voice commanded attention like fists in velvet gloves.
Another standout piece, 'Gay Guerilla,' brought together performers, dancers, choreography by Kyle Marshall and multiple musical forces including electric guitar. It was an intense display of Eastman's work that highlighted the shifting lines between sleep, death, sex and combat as his music grew in harmonic complexity to finally erupt with acerbic iterations of a battle hymn – timeless soldiers on stage moving to an increasingly sensual pas de deux.
Tines brought Eastman's diverse output together, bringing recognition to this groundbreaking musician whose fearless approach continues to inspire artists today.
his music is like nothing else and it's crazy how ahead of its time Eastman was. I mean, 'Gay Guerilla' is this intense anthem that just blows up with energy - I love how it blends music, dance, and performance art all together! 
and I'm also loving the fact that Tines brought these pieces to life in a way that's both modern and true to Eastman's original vision. he's like a trailblazer who paved the way for so many artists today 
. And what's up with all the different collaborations? Like, I get that Eastman was a true innovator and all, but it feels like there's so much going on at once 
. Still, I'm glad Tines brought everything together - it's crazy to think about how influential Eastman's work is gonna be in inspiring future artists 
. i love how Tines celebrated the eclectic side of Eastman's work, like 'Gay Guerilla' which is literally a masterclass in building tension and release 
. Tines did an amazing job of showcasing the diversity of Eastman's output, from 'Holy Presence' which is just so hauntingly beautiful to 'Touch Him When' which gets you moving on the dance floor 
. anyway, i'm totally here for more of this kind of artistic exploration and experimentation 
. And can we talk about 'Gay Guerilla'? it was like a battle hymn come to life, the energy on stage was electric 
. Eastman's legacy is truly inspiring, his fearless approach to music is still giving us chills today 
️. The 'Holy Presence of Joan d'Arc' is insane – I love how Tines used Eastman's voice to create this dramatic moment from beyond the grave 
. I mean, who knew that electric guitar could be so intense? 
That 'Touch Him When' piece was insane! 
. Can you imagine what other amazing things he could have created if he was still with us? 
. The way he performed those pieces by Julius Eastman was truly mesmerizing... I mean, 'Touch Him When' gave me chills! 
. It's amazing to see how Eastman's music still inspires artists today - that fearless approach is something we could all learn from 
the thing about julius eastman is how he defied categorization... like his music just kinda emerged from this space where art and politics and rebellion collided 
but what really gets me is how eastman's work still feels so relevant today... like we're still trying to grapple with the same questions he was asking back then - about identity, power, and the ways in which art can be both a form of resistance and an act of surrender 
anyway, i feel like davóne tines did a remarkable job of capturing eastman's essence on stage 
.
. The way Davóne Tines brings that medieval warrior vibe to life is giving me all the feels 
. It's like, Eastman was a true original, pushing boundaries and defying expectations with his music.
! The way Eastman's music can shift from sleep to sex to combat is just MIND-BLOWING 
.
. And I gotta say, 'Gay Guerilla' had me on the edge of my seat, all that intensity and drama – it's amazing how Eastman's music can take you from zero to hero in like 2 secs 
. What really gets me is how Tines didn't just focus on the 'hits', but also brought out some of the more experimental stuff that makes Eastman's work so genius 
and then you have 'Gay Guerilla' which is like this crazy intense explosion of music and movement 
. I mean, think about it - Eastman was a true original, bridging those two art scenes in New York and redefining what minimalist beats could do. His bravery as an artist is still palpable today.
! I mean, who knew American composers were cool and not just jazz legends or rock gods? Davóne Tines is the real MVP for bringing Julius Eastman's work into the spotlight - his eclectic beats are like nothing else out there. Like, have you ever seen anyone get that hyped about medieval warriors with a Joan d' Arc vibe? 
'Gay Guerilla' though... that piece had ME at 'sleep, death, sex and combat' - what even is this music?! It's like Eastman was predicting the apocalypse (of taste) or something. But seriously, I'm loving the resurgence of interest in minimalist music - it's time we gave these pioneers their due 
But have you noticed the way Tines is highlighting certain pieces over others? It's like he's cherry-picking the most "cool" and "influential" stuff. Maybe there's more to Eastman's story than we're being told... 