Big Ears 2016: A visual recap
Another Big Ears Festival has come and gone, drawing intrepid listeners from far and near to Knoxville, Tenn., for a weekend of massive drones, nuanced improvisation, and … Faust.
Photo credit: Christopher White
Another Big Ears Festival has come and gone, drawing intrepid listeners from far and near to Knoxville, Tenn., for a weekend of massive drones, nuanced improvisation, and … Faust. It undermines the group’s Germanic brilliance to label what Jean-Hervé Peron, Zappi and the rest of the group does as krautrock. Sure, they helped define the genre. But that was more than 40 years ago, and this group is still surfing the intangible cosmic forces that set them in motion. And yeah, they blessed everyone at Saturday night’s Bijou Theater show with a run through “Jennifer” from 1973’s quintessential Faust IV LP. But it was almost ironic of them to shift gears and honor such a classic number from Faust’s repertoire in the midst such a wild and forward-thinking spectacle on stage. And Zappi’s drum solo was the stuff of legend.
The sheer numbers of attendees at this year’s festival forming long lines outside of Anthony Braxton, the Necks, and Philip Glass shows taught Big Ears veterans one thing: We didn’t realize how good we had it in the past. The leisurely pace of previous years spoiled us all. This year’s influx caught a lot of people off guard, and the growing pains of several packed out — sold out — shows caused all sorts of grumbling. But anyone with the patience to wait in line got in for at least some of what they wanted to see and hear. Mostly. And really, can an influx of people engaging with such truly meaningful music be a bad thing?
Highlights of the weekend: Philip Glass, Maya Beiser, Nico Muhly, and Eighth Blackbird playing a surprise performances of "Music In Similar Motion" in a church, Shabazz Palaces lighting up the Mill and Mine, and being in the room during the Necks show at the Bijou were transcendent moments. Espescially the Necks — the oxygen left the room when these three Aussies locked into a bout of silent telepathy. Laurie Anderson joining Faust for a monstrous rendition of Outside the Dream Syndicate following news that Tony Conrad had canceled his appearance over health issues related to prostate cancer was harrowing.
Anderson maintained a ghostly presence on stage, which felt as though it was out of respect for the missing, essential player in the Dream Syndicate’s mythology, and a part of the festival’s vital essence. Big Ears defies the machinations and the philosophies of music for the masses by giving a stage to artists who remind us that there is power in pure and creative individuality. Conrad’s absence was palpable, even tragic.
Steering the crowds toward the Ijams Nature Center for Sunday afternoon’s finale was a brilliant, head-cleaning maneuver on the part of Big Ears founder Ashley Capps. Embracing an entirely new element of Knoxville’s beauty, while being immersed in the woods, along with percussionists and noisemakers performing John Luther Adams’ Inuksuit culminated in an expansive experience — too big for a traditional music venue — the likes of which the festival has never seen. Like the music, the sounds, the experiences, and the personalities that that this annual gathering celebrates, Big Ears is still the most creative, adventurous music festival in the country, if not the world.
Photo credit: Christopher White
Photo credit: Christopher White
Photo credit: Christopher White
Photo credit: Christopher White
Photo credit: Christopher White