Throughout the weekend of the Massive Ears pageant, the town of Knoxville, Tennessee, turns into a vibrant soundscape. Market Sq., the bustling coronary heart of this energetic faculty city, transforms right into a hub for spontaneous jam classes — from the expert fingers of an aged fiddler to native bands performing with out prior discover. In the meantime, simply down the road, festival-goers collect at official venues to see famend artists like Wadada Leo Smith unveil new work, get pleasure from performances by iconic musicians comparable to Lonnie Holley, Michael Hurley, and Tortoise, or soak up the modern sounds of acclaimed experimental songwriter Mabe Fratti.
The sheer quantity of music out there is overwhelming, however 1000’s of attendees who flocked to Knoxville between March 27 and 31, 2025, have been wanting to expertise as a lot as attainable. My very own journey by this musical weekend — simply one among numerous paths — immersed me in a whirlwind of songwriting, drone, and jazz, all of which served as a reminder that experimental music is extra a mind-set than a inflexible components.
In essence, like its namesake suggests, Massive Ears invitations audiences to open themselves to each distinctive musical encounter. Since its inception in 2009, the pageant has curated a remarkably eclectic array of performances, and this 12 months felt particularly wealthy with music, modern concepts, and transformative experiences. Each efficiency I attended drew enthusiastic crowds, underscoring the pageant’s function as a celebration of latest listening and the boundless prospects inherent within the time period “experimental music.”
This 12 months, songwriting emerged as a distinguished theme, with many artists creatively extending, reshaping, and experimenting with tune constructions. On Thursday night, Danish artist Astrid Sonne captivated listeners as her music advanced from hazy and shimmering strings into ethereal songs exploring love, heartbreak, and pivotal life decisions. Whereas it wasn’t the pageant’s most groundbreaking efficiency, it supplied a compelling glimpse into the fusion of electroacoustic textures with pop lyricism. On Saturday, Darian Donovan Thomas showcased his ambient undertaking Protected House, merging arpeggiated violin with the ethereal synths of Phong Tran, the sharp guitar of Andrew Pitcher, and the melodious trombone of Kalia Vandever, creating each tight songs and expansive meditative items that blossomed into wealthy, layered melodies.
On the identical day, the New York-based solo undertaking extra eaze, led by multi-instrumentalist mari rubio, delivered a charming efficiency. Joined by violinist Zachary Paul and guitarist Wendy Eisenberg, the trio seamlessly blended autotuned vocals with nation ballads and spontaneous improvisation, creating a novel soundscape the place electrical violin grit intertwined with the twang of pedal metal and vibrant electrical guitar riffs. Sunday afternoon noticed cellist and singer-songwriter Mabe Fratti merge longform pop, fiery rock, and the liberating spirit of improvisation, breaking down style limitations and showcasing the flexibility of assorted devices.
The idea of drone music was additionally explored in numerous kinds all through the weekend. One standout piece was Jonny Greenwood’s monumental eight-hour organ composition 133 Years of Reverb, which stuffed St. John’s Cathedral from 2 PM to 10 PM on Saturday. Carried out by James McVinnie and Eliza McCarthy, this piece blossomed from turbulent dissonance into harmonious consonance, creating an environment that left audiences euphoric. The cathedral’s organ resonated with every chord as attendees mingled, absorbing the vibrations with their our bodies and immersing in a shared second of resonance within the sacred area.
The earlier night, Sorey’s Monochromatic Mild (Afterlife) stuffed the dim cathedral with its eerie waves and ethereal melodic phrases. Wadada Leo Smith’s reflective items carried out with RedKoral additional captivated audiences, pairing Smith’s contemplative trumpet work with the ensemble’s wealthy string preparations. Drone and ambient music additionally discovered interdisciplinary expressions, with Helado Negro presenting Star Scores, a mesmerizing synchronization of flashing visuals and pulsating soundscapes. Later, Macie Stewart projected tranquil blue scenes behind her ensemble as they carried out drifting compositions. Whereas many of those experiences leaned in the direction of the mushy and serene, an exciting late-night set by Austin-based drone rock outfit Water Injury erupted with uncooked vitality, culminating in an exhilarating crescendo that left audiences craving extra.
Jazz has at all times held an important place at Massive Ears and throughout the wider inventive music scene. The weekend featured a standout efficiency by the UK-based quartet أحمد [Ahmed] — comprised of pianist Pat Thomas, saxophonist Seymour Wright, bassist Joel Grip, and drummer Antonin Gerbal. Famend for his or her free improvisations that reinterpret the music of bassist and oud participant Ahmed Abdul-Malik — a key determine who merged Center Japanese and North African musical influences into jazz — they redefined his items into frenetic and crisp compositions. Their performances balanced chaos with outstanding ability, showcasing every member’s virtuosity. The primary set was tightly synchronized, displaying spectacular pace and finesse, whereas the second took on a extra relaxed environment, encouraging viewers interplay that allowed the music to movement freely and organically.
Sunday night introduced an exciting efficiency by Tyshawn Sorey, Steve Lehman, and Vijay Iyer, who unleashed a torrent of sound and creativity. Sorey’s dynamic drumming propelled the group, complementing Iyer’s fluid piano phrases and Lehman’s daring saxophone, filling the packed venue with a rare vitality. Immanuel Wilkins’s Blues Bloods equally launched the viewers right into a vibrant melodic journey, deftly intertwining parts of religious, gospel, free improvisation, and bebop.
The weekend overflowed with ecstatic rhythms and modern expressions, from Darkside’s euphoric digital soundscapes to the forward-thinking ethos of the Solar Ra Arkestra. Nevertheless, the pageant’s most unforgettable moments stemmed from the deep sense of connection shared amongst attendees as we reveled within the music. Collectively, we celebrated the boundless historical past and infinite potential of sound, united in pleasure and shock.
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