Speak Low Pageant made a triumphant return for its second 12 months from September 26–29 in Cincinnati, Ohio, and what a aid it’s! Whereas the inaugural occasion showcased an array of impressed performances centered on deep listening and ambient sound, this 12 months’s pageant supplied a extra cohesive and purpose-driven lineup. The main target wasn’t strictly on stylistic commonality however moderately on a shared understanding of the turbulent, typically painful world we inhabit. Speak Low 2025 served as a exceptional exploration of sonic embodiment and shared experiences, fostering a way of group and inspiring members to make their bodily areas significant. Whether or not this was the imaginative and prescient of govt director Ryan Corridor or not, he clearly succeeded in creating that environment.
This 12 months’s venue selections centered in Cincinnati’s downtown leisure and enterprise districts, starting on the Up to date Arts Heart—notorious for being charged with obscenity in 1990 over a Richard Mapplethorpe exhibit. The night’s opener, Fritz Pape, set a fantastic tone with a long-form composition combining guitar and synth. His efficiency gently layered aquatic and arboreal tones, increasing into white noise and organ-like sounds. Close to the tip, he engaged the viewers by distributing chimes to chose members, creating an organized call-and-response that step by step deconstructed his intricate soundscape till solely the chimes remained.
Subsequent, Micaela Tobin, often called White Boy Scream, took us on an episodic journey via primal screams and distorted vocal expressions of anguish. With traces like “I’m reborn” and “We’ve got been taught to erase ourselves, again and again,” her efficiency radiated urgency—not solely in her vocal ferocity but in addition as a way of breaking free from self-imposed confines. The transformation of her voice turned a focus, most strikingly when she positioned a small microphone inside her mouth, producing a mesmerizing interstellar timbre.
Cole Pulice closed the primary evening, asking for a second of silence for Assata Shakur, a poignant reminder of our connection to the world past the pageant. His efficiency featured saxophone, digital devices, guitar, and an digital recorder, crafting intricate layers that mesmerized the viewers. Pulice skillfully highlighted the significance of each the onset and decay of notes, executing this idea masterfully all through his set.
Day two kicked off with an electrifying efficiency by Chris Corsano at Homemaker’s Bar—sadly, I missed this. By 4 PM, I arrived at Christ Cathedral for a set by JJJJJerome Ellis and Sarah Davachi. Ellis started by outlining the devices on stage—a saxophone, hammered dulcimer, and piano—alongside an outline of his outfit, an intentional selection that resonated extra deeply on day three. All through his efficiency, he explored the sonic potentialities of every instrument, generally venturing into the sanctuary and the balcony, joined at occasions by Molly Joyce.
Davachi delivered a mesmerizing solo piece on the church’s magnificent organ. Just like Pulice, she centered on actions inside perceived moments of stasis. Constructing layers of sustained pitches, Davachi created a texture dominated by sympathetic and overtone vibrations, shifting our focus at any time when a brand new observe was launched, demanding our reorientation.
The night featured one other triple invoice on the Up to date Arts Heart. SHERMVN and Victoria Lekson usually collaborated as a duo, showcasing their curiosity in improvisation. Though that they had moments of beautiful sonic alignment, technical points arose halfway via the set, interrupting their circulation.
Pleasure Guidry started with an prolonged work primarily based on white noise and suggestions, weaving her bassoon improvisation right into a soundscape that blossomed and remodeled earlier than our ears. In her second piece, she used pre-recorded materials that includes the velvety voice of Toni Morrison, prompting deep reflection within the viewers.
Moor Mom not solely recited and managed digital layers however totally embodied her presence. By her gripping portrayal of a Black particular person confronted by police violence and her incorporation of Nina Simone’s “Mississippi Goddamn,” Moor Mom showcased her mastery of beats, rhythms, and lyrics. This was additional amplified by her adept use of sampling, reflecting the significance of citation in Black music throughout various kinds and genres.
Day three featured Molly Joyce, whose set at Memorial Corridor brilliantly navigated themes of capacity and incapacity via a mix of enchanting vocals, modern digital manipulations, and organ taking part in, with a particular visitor look by Ellis. As her lyrics have been projected on a display, a music video unfolded—full with a narrator—reminding me that Ellis’ earlier intent was to make the expertise accessible to all, no matter visible capacity.
Following this, Dr. Nathan Morehouse from the College of Cincinnati’s IRiS Institute facilitated an vital dialog about incapacity and artistic observe. Throughout a reception, Jess Lamb and Mates carried out alongside Siri Imani. Regrettably, this was the one time the pageant confronted sound engineering challenges, as Imani’s famend lyricism was largely drowned out throughout her collaboration with Lamb and the band.
The grand finale featured a various vary of performances: Kelly Moran, Cincinnati staple WHY?, performed by concertnova, and the experimental rap trio clipping. Moran’s set, very similar to her earlier performances, featured projections, which I discovered at occasions distracting as they failed to enhance the nuanced fantastic thing about her piano items. The spotlight was her rendition of Ryuichi Sakamoto’s Merry Christmas, Mr. Lawrence, which mirrored the artistry I felt was lacking in her authentic compositions.
In the course of the remaining efficiency, WHY? showcased their tight ensemble sound, seamlessly mixing vocals, guitar, piano, drums, and double bass. Lead vocalist Yoni Wolf introduced his signature emotional depth to the efficiency. The second half noticed the group joined by members of concertnova, enhancing their soundscape with woodwinds and strings that added layers of richness and interaction.
Lastly, experimental rap group clipping., that includes Daveed Diggs, proved to be an electrifying conclusion to the pageant, conserving the viewers engaged long gone the anticipated finish time. Joined by their collaborator Sharon Udoh, whose beautiful vocals and piano complemented the trio’s rhythmic ingenuity, it was an unforgettable finale.
Regardless of Diggs’ preliminary consciousness that the viewers wasn’t accustomed to the vitality of a hip-hop present, we collectively discovered to specific our appreciation for the musicians’ astounding artistry in our personal method.
On Monday, concertnova rounded out the pageant with a efficiency of Borrowed Panorama by Dai Fujikura. Described as a “narratorio,” the piece featured 4 narrators alongside devices like violin, piano, and double bass, delving into the resilience of musical devices and the tales they carry. One referenced instrument was a piano from the Baldwin Firm performed by Akiko Kawamoto, who had taken it along with her household to Hiroshima within the Nineteen Forties—a poignant reminder because the piano survived the bombing, whereas Akiko didn’t.
The subject material successfully related private experiences from Poland, the U.S., and Japan throughout WWII, although I felt a disconnect because the musical segments and narrative typically felt separate. A very resonant second occurred when violinist Anna Reider performed whereas a narrator spoke—this interaction was one thing I needed occurred extra often all through the efficiency.
Throughout his each day mantra, Ryan Corridor emphasised: “Fuck ICE; shield our trans group; and Free Palestine.” In an age the place silence typically prevails to keep away from backlash, Speak Low Pageant 2025 made daring statements. It acknowledged the very important roles queer and trans people play in our collective historical past, tradition, and society, emphasizing that one particular person’s security can’t come on the expense of one other’s. The pageant fostered an important sense of belonging in an period that desperately wants it, affirming that these shared areas of help are important.
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