As early as 1989, together with friends, she ran a club on Greek Street in Soho in the heart of London where DJs and music bands performed. Bulloch herself stood on stage with a bass guitar and improvised with others in a »crude-chaotic style« (Bulloch). Since the 1990s, she has also appeared as a DJ, including at exhibition openings, where she sees music as an important element of the exhibit experience.
Bulloch was part of the band Big Bottom from the very beginning, which was founded in 1997 on the initiative of Susan Stenger. Stenger is a trained musician and comes from experimental and minimal music. She has worked with John Cage, Tony Conrad, Christian Wolff and Phill Niblock and is co-founder of the New York alternative rock band Band of Susans. From this specific tradition, she wanted to work and make music with visual artists again. Bulloch continues: »I am a sculpture artist. I work with forms in space and how they are perceived and therefore I also treat sound in the spatial structure like one of my sculptures.« Musician Susan Stenger was attracted to this type of experimenting and amateurism.
Big bottom included exclusively five electric bass guitars and a drum machine. In addition to Stenger and Bulloch, the visual artists Cerith Wyn Evans, Tom Gidley and the bassist J. Mitch Flacko played in the band. At the beginning, a cardboard doll stood in place for the sixth member, Sarah Lucas. Sometimes Gina Birch from the British post-punk and experimental rock band The Raincoats and Alexander Hacke from the legendary Berlin band Einstürzende Neubauten also played with them. The declared goal of the band was »to thrash and trash the bottom end of « Just one year after their founding, they appeared in the come-back tour current/See by the renowned Scottish dancer and choreographer Michael Clark, a pupil of Merce Cunningham. Big Bottom stood between ballet dancers in a lively choreography on stage during the show. Her last concert was played at the Volksbühne in Berlin as a pre-band for the British avant-garde art and rock group Throbbing Gristle on New Year’s Eve in 2005.
Later the music project The Wired Salutation followed as a collaboration with the composer and musician David Grubbs (born 1967 in Louisville, Kentucky). He was a founding member of the bands Squirrel Bait, Bastro and Gastr del Sol and also played with The Red Krayola as well as the visual artists Anthony McCall, Stephen Prina and Cosima von Bonin. 2014 he published the book, Records Ruin the Landscape: John Cage, The Sixties, and Sound Recording in which he looks at the transformation of listening practices. Other band members of The Wired Salutation are the Italian musicians Andrea Belfi and Stefano Pilia, with whom Grubs had already appeared in 2009. The band’s first appearance was at the Center Pompidou in Paris in 2013.
Bulloch has also been operating her own record label for about ten years, the ABCDLP. The record covers of the five published LPs are monochromatic and have edition numbers. Bulloch contracts musicians like George van Dan and Justus Köhncke to write music pieces and compositions. The first record was a compilation by Justus Köhncke with a song suitable for remix for DJ sets for which Bulloch designed a sleeve in disco look. Among the records released by ABCDLP is one from one of Bulloch’s band members from The Wired Salutation. The records are an essential part of the art installations and are also commissioned with this in mind. When asked whether she considers the records to be music or visual art, Bulloch answers calmly: »I don’t see any difference there, it is a music record.«