Her “brand new” concerto was by Glasgow-born composer Martin Suckling, a friend of Bryan’s since childhood. The White Road, getting its first performance, was a sonic feast, seething with microtones and ear-baffling orchestral sonorities – wailing woodwind, clangorous percussion – but held together by a firm but eloquent structure that set Bryan in a succession of ritualistic conversations with the orchestra. There was a definite Japanese tinge to her shakuhachi-like note-bending and the sudden cracks and thuds from percussion, and she gave a thrillingly dramatic performance – from memory – even seeming to spit her instrument out in passages of sudden violence.
— David Kettle