Age of Consent

Mike Thorne produced the album ‘Age of Consent’, in which the Pink Singers backed Bronski Beat. This was the band’s debut album, written at a time when the age of consent for gay men was still 21 in the UK.

The first part of I Feel Love’s recording was in London, and this was where the cowboys rode into town, twenty of them in the collective posse of the Pink Singers.

This male voice choir with a difference embraced an extraordinary range of character types, from loudly extrovert to painfully shy. Appearance was just as varied. The group couldn’t resist giggling, non-maliciously, at this odd human assortment. The big sound of the resulting layers, the harmonies of which were recorded one at a time sounds quite Volga Boatmen, belying the hot summer night on which it was recorded in an East London basement studio, sounding considerably larger than the recording room.

It was hot singing, and hot conducting, leaving persistent memories of sweat on the synthesizer keys that I used to lay out the arrangement. An evening of this melts you, and the air conditioning just gives you up as a bad job. But at the end we had our sound. I broke out the champagne I had sneaked in. We might be an odd collection of differing misfits, and the juice didn’t go far among 25 people, but after all it was showbiz and ceremony is important.

The Pink Singers were even more effective on the other cover on the album, of the Gershwins’ It Ain’t Necessarily So. This is possibly the track which shows off the diverse talents of all concerned, starting with Arno (Uptown Horns) Hecht’s clarinet taking the melody at the beginning. Jimmy’s singing is effortlessly fluid, the more remarkable that he is delivering it on his first album. The harmonized scat sections are flawless, although we would admit that they took time.

You can feel the enthusiasm of the Singers. When they enter in the second verse they sound as if they have just been uncaged, which knocked the track nicely out of being comfortable middle-of-the-road anodyne. They were so anxious and anticipating that it was impossible for them to sing at any level less than raucous, even when humming under the a cappella verse.

Timeline datestamp: 15 October 1984

New MD – Robert Hugill


Throughout my period directing the Pink Singers (1983 to 1988) there was a constant tension between the need to entertain and the need to be political. If there were too many non-political songs in the programme then one group of singers would complain, if there were too many political songs then another group would complain. What really kept things in balance was that we had constant difficulty finding political songs!

By December 1984 we felt ready to give our first concert and gave a Christmas concert at the University of LondonUnion. We called it our Christmas Antidote and this became a regular title for our Christmas concerts. At this timeI was still directing the group from the piano. As we had not got enough material for a complete concert, I padded the event out with a few readings and by encouraging individual singers to do solos.

This latter idea had a very strong effect on the nature of the choir; from now on, at any time around three quarters of the choir’s members would be doing solos. This led the group to develop more as a large cabaret ensemble and less like a choir. From now on the choir’s year developed some sort of rhythm with a Christmas Antidote concert in December, a birthday concert in April and some sort of event during Gay Pride.

Pink Singers 1986

When we had gathered sufficient repertoire we decided to make a recording. We went off to a school in Hertfordshire where one of our number taught and spent the day singing and recording. The results were successful and became The Pink Singers – Live. But the recording also made us take a momentous decision and stop being completely open entry. There had always been a group of singers who tended to drone in the background (known in the group as the hoovers) but the recording made us realise how bad this made us sound. From then on anyone could join but they had to have the confidence to sing for me at an audition. I never had to turn anyone away, simply asking people to sing seemed to make things self selecting.

Pink Singers 1987

The group was always extremely social. In the early days we would leave rehearsals at County Hall and go off to the Gay Tea Dances or have a meal at Bunjis, the vegetarian basement Folk club. When the London Lesbian and Gay Centre opened we sometimes socialised there, but tended to go off to the Fallen Angel in Islington. It was from here that the Pink Singers tended to be run.

In the early days the group had been very much my own baby, but as it grew in numbers and in confidence, the group of people who met at the Fallen Angel became an unofficial junta running the group. It was open to anyone who felt like coming. Eventually it seemed sensible to try and set the group of on a rather more formal basis. We had an AGM and voted ourselves a constitution; this was based on the standard one proposed by the National Federation of Music Societies which meant that we could become affiliated to this group, the first explicitly gay group to do so.

Timeline datestamp: 14 December 1983

Mark Bunyan


Mark Bunyan (born 1949) is best known as a cabaret artist, although his accomplishments also include being a national recreational trampolining medallist and many writing credits.

His story is told in the film Mark Bunyan: Very Nearly Almost Famous and he kept a diary which recorded his first impressions of the Pink Singers. In his speech at the Pink Singers’ 25th anniversary concert, he recalled that in early 1983:

Brian Kennedy, gay activist, journalist and all-round good bloke decided that London should have its own gay community choir. There were already several gay choirs, mainly male choruses, in the United States but none in this city… I was one of a very small handful of out gay musicians with any kind of public profile… I knew that starting a choir would be a big commitment and I wasn’t really that sure that I could spare the time but Brian was very persuasive and in due course on April 7th 1983, there was a well-advertised meeting at the Oval House in Kennington to which 29 people turned up plus Brian, myself and a noble pianist whose identity has disappeared.

At that first rehearsal, Mark taught the nascent choir two songs: a version of Frère Jacques with alternative lyrics (‘Homosexual, homosexual / Lesbian, lesbian / We are homosexual, we are homosexual / We are gay, we are gay’) and a piece of mock plainchant he’d written for the American gay protest-performance group, the Sisters of Perpetual Indulgence, called ‘Veni’ or ‘I Come’. These, with the addition of Scarborough Fair, were the basis of the first public performance at the London Pride march.

There is, incidentally, a bit of a myth that the Pink Singers, as they became known after the second meeting, were formed to sing at that year’s Pride march. Though our first public appearance was at Pride – and at the head of the march I may tell you (no mayoral presence in those days) – the object was always that the choir would keep going as a community choir.

But Mark Bunyan’s career was taking off and he did not have the time to dedicate to a choir.

I’d told Brian and the choir, as it got going, that I was doing it for three months and three months only. No-one was quite sure what was going to happen once I left. On the very day that the three months were up, a man came up to me at the Sunday afternoon rehearsal in County Hall and told me that he’d just moved to London, had been conducting a choir in Salisbury (I think) and would it be possible to conduct the occasional piece. I looked at him for a moment and said “Better than that….”

That man was Robert Hugill.

Timeline datestamp: 07 April 1983

The Beginning

The Pink Singers is the oldest LGBT+ choir in Europe. Mark Bunyan, our first Musical Director (MD) and one of our founding members, recounts how it all began.

I’ll be completely honest and say that my arm was very heavily twisted by Brian Kennedy, and Michael Mason of Capital Gay, to start the choir in 1983. I’d had some success with my musical the year before, and my cabaret career was going great guns, so I must admit that I didn’t really want to commit that much time to it and said that I’d do it for exactly three months.

The first choir meeting was April 7th 1983. Diary reads: ‘The rehearsal for the gay choir survived both my incompetence and the potential splits of cultural/political and male/female but we’ll see how next week goes.’ The first meeting was at the Oval House as was the one a week later: ‘There were only fifteen people at the choir practice but at least two women still. Managed to balance the meeting again between Radfems and SDP Yale Gleeclub (the latter was so silly/awful it make me giggle). Afterwards some of us went to the White Bear… Bob Stratton came in delivering Gay News and gave Brian and I a copy each “because you do things.” He’s off to Devon or would have joined the choir.’

May 15th: ‘Was late to choir practice in County Hall and felt awful and incompetent though when we got it together God Rest You sounded pretty good. The name is now The Pink Singers (over my suggestion That Choir). I enjoy it even when feeling appalling.’ I was hungover.

Saturday July 2nd: ‘Went up for the Gay Pride march – initially heralded by a small group with a large bunch of pink balloons in the middle of Hyde Park. Eventually a large crowd gathered (1500- 3000?) and self and Pink singers were plonked at the head of the crowd and had a jolly time all the way to Malet Street, especially when we all let our balloons rise in Tottenham Court Road.’

I remember Robert being really surprised when I said that not only could he do some of the musical direction but could also take over the whole thing. It was at the last meeting of my promised three months and his arrival could not have been timed better. I’d been assuming that I’d have to go on with it despite my (clear from the diary entries) feeling that this wasn’t something I was too skilled at.

Timeline datestamp: 07 April 1983