Live Review: Big Ears Festival in Knoxville, Tenn. (Feb. 6-8)
February 17th, 2009 by Web Editor in Music news, reader reviews
By Omar Khalid
Why Knoxville? Why Knoxville? The question was asked and subsequently answered more than a few times during last weekend’s ambitious avant-garde/outer music festival dubbed “Big Ears.” Fennesz, Jon Hassell, Matmos, the Necks, Neil Hamburger, Antony & the Johnsons, Negativland, Philip Glass and many others. Would people really come to Knoxville from all over the country — all over the world — for a music festival with, yes, a wide variety of music, but all somewhat in the “weird music” vein? Would the community support it? The answer: A resounding yes.
Festival organizer Ashley Capps — whose company AC Entertainment is responsible for the success that has become Bonaroo — lives in Knoxville and apparently has roots in promoting free jazz and experimental music in the area.
If one thing stood out about the festival, it was how professional, yet easy the whole experience was. There were as many as 10 venues involved, all seeming to be just blocks from each other, with everything starting on or near on time. Go have a huge $2.50 bloody mary at the Bistro for a brunch performance from the Balkan-gypsy inspired Luminescent Orchestrii; walk down the street to catch some of the film Powaqqatsi at the beautiful Tennessee Theatre (Knoxville’s own version of Atlanta’s Fox Theatre); a few blocks over there’s a performance from NYC clarinet/saxophone circular-breathing virtuoso Ned Rothenberg; stroll back down to the Bijou for the Phillip Glass concert. It was a busy weekend, but everything was so well-planned and the acts were so thoughtfully scheduled. The fluke weather in the high 60s couldn’t have hurt either. The only hangup was probably when Saturday’s 10 p.m. show with the Baltimore combo Matmos had to suddenly be moved from the Square Room to “Old City’s” Catalyst. Apparently the proprietors of the Square Room were, uh, squares. Something in the video to be shown during the Matmos performance they found offensive (probably the naked dude getting into the hot tub). Regardless, that show at the Catalyst was one of the better experiences of the whole festival (no, not because of the naked hot tub video).
Drew Daniel’s beats have absolutely got to be among the most funky, most interesting in electronic music. Both Matmos shows, Friday at the Knoxville Museum of Art and Saturday at the Catalyst, seemed completely different yet so epic in their respective musical paths. There are few bands who successfully combine electronic and acoustic elements in their music — dance-y, porn soundtrack, Middle-eastern percussion, jazz (live saxophonist!), minimal, classical, orchestral mumbojumbo, IDM — but it’s safe to count Matmos among them.
Ironically, the vast majority of the young-people-activities were happening in “Old City:” people eating up Neil’s Hamburger with extra cheese, checking out the Dixie-warble improv of the Shaking Ray Levis, simmering to the violin-driven drone noise of Spencer Yeh and Burning Star Core at the Pilot Light, or getting riled up by electrospaztist Dan Deacon’s round robin at the Catalyst. It was nice to see Knoxville’s local creative musicians representing during the festival’s late-night activities as well.
I’ll admit that my initial response to the inclusion of Neil Hamburger in the festival was pretty skeptical. After his brilliant audio tour of downtown Knoxville, though (11:30 a.m.), my impression had been significantly altered. The faux stories (but honest opinions) of various buildings, businesses, landmarks, etc., provided the perfect environment for his humor, rather than the uncomfortable stand-up setting. One comment I heard was particularly hilarious: “Alright let’s go this way, towards the noise (sounds of city workers on the street). Isn’t this what you’re all here for? Ear-splitting noise. They should put these guys on at the Bijou.”
While the Hamburger tour was surprisingly delicious, it didn’t provide the only interactive entertainment available during the day. On Saturday there were workshops with master musician Pauline Oliveros and circuit-bender Nicholas Collins, as well as a Q&A with Philip Glass. And on Sunday, Bob and Dennis from the Shaking Ray Levis conducted a drum workshop. During the entire festival, The Bob Moog Foundation provided open access to many of Moog’s inventions including some of his many synthesizers, signal processors and Theremins in an area called the “mooglab” in the Woodruff building, also downtown.
There actually might have been too much to do over the weekend, but that’s not a bad problem to have. It only took a few acts to make it worth the drive from Atlanta. Ultimately, it was the one-time-only Fennesz/David Daniel (from San Agustin)/Tony Buck (from the Necks) show that was most impressive — incredibly active, free jazz cymbal work from drummer Buck complimented with beautifully manipulated guitar washes of Christian Fennesz and the dreamy twang of D. Daniel.
It’s difficult to gauge how the festival did financially this soon, but from everyone I spoke to, it was a phenomenal success. If next year is even half as eclectic and adventurous as the first Big Ears, it will be incredible before it even starts. Godspeed and here’s to the ears in Knoxville.
(Photos by Omar Khalid)
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