2024-08-25 17:14:58
Not just since yesterday, the artistic director Mario Steidl and his team have been focusing on a versatile, yet finely balanced mix at the multi-day event in the Pinzgau mountain world. During the day, the many freely accessible concerts often have a danceable vibe – for instance, the East Tyrolean formation Jimmy and the Goofballs left little to be desired yesterday, serving up crisp Ska with a pinch of Hip-Hop to get the hips moving – while there is on the main stage as well as in the discovery section Short Cuts, a deliberately sophisticated offering that one must really engage with.
However, in the case of Riahi, who implemented the commissioned work for the festival with her colleagues Dorian Concept (Electronics) and Manu Mayr (Bass), along with wonderful visuals by Lou Zon, the audience really only had to let themselves fall. For nearly an hour, it traversed various emotional states between plucking beats and wavering sounds, allowing one to wallow in pleasant sounds, only to be pulled back from the state of calm by sharp accents from the composer shortly thereafter.
Mayr’s bass playing ran like a heartbeat through the entire piece, while Concept refined his constructions layer by layer. No sooner had a melodic arc become discernible in the fog, than Riahi changed the thrust – one couldn’t feel too secure despite the meandering and contemplative gesture, as this dream always seemed on the verge of bursting. In between, speech and vocal samples were deployed, and the musician repeatedly stepped to the front of the stage. There was well-deserved large applause at the end for this bold opening of the Main Stage.
Following that, neither the Kris Davis Trio nor Daniel Erdmann and his ensemble could complain about a lack of support. While the Canadian pianist introduced her upcoming album “Run the Gauntlet,” diving impressively into dissonant spheres (not to forget the incredibly compelling bass playing by Robert Hurst), the German-French couple therapy by Erdmann became a highlight of the day. No wonder, with illustrious collaborators like violinist Théo Ceccaldi or bassist Robert Lucaciu by his side. The sextet, consisting of three German and three French musicians, made the sounds vibrate, passing the balls to each other as if blind while harmonious beautiful sound and powerful outbursts kept a proper balance.
Finally, two other formations brought their respective performance spaces to a tremble: The Vienna-based noise and experimental trio Radian showcased in the Otto-Gruber-Halle that fragile moments, shifted structures, and cathartic releases do not exclude each other at all. Manu Mayr had the chance to celebrate himself a second time here, as he stood on stage alongside guitarist Martin Siewert and drummer Martin Brandlmayr instead of regular bassist John Norman. And the fabulously assembled group The End, featuring exceptional saxophonists Mats Gustafsson and Kjetil Møster, as well as singer Sofia Jernberg, blasted high-energy noise jazz into the audience on the main stage to conclude the day. It was no coincidence that the often-busy Gustafsson in Saalfelden cheekily remarked at the beginning: “The end is here, the end is near. Be careful.”
Conversely, Bipolar Feminin has nothing to do with caution. The Austrian indie rock band played an exhilarating and powerful set at the Kunsthaus Nexus almost simultaneously, showcasing the significant age range in the audience. This jazz festival has long reached everyone, whether one indulges in polished experiments or simply wants to have a good time with the best friends. Socio-political gestures and musical finesse go hand in hand anyway. There is still plenty on the program until Sunday that one should not miss.
(By Christoph Griessner/APA)
(S E R V I C E – )
The recent festival in the picturesque Pinzgauer Alpines showcased an exciting blend of musical genres and performance styles that could signify emerging trends in the music festival landscape. The event, led by artistic director Mario Steidl, emphasized accessibility and diversity, with free concerts that encouraged participation from various demographics while also catering to more nuanced tastes on the main stage.
This trend of creating inclusive musical experiences is likely to continue, as festivals increasingly recognize the need to appeal to a broader audience. The juxtaposition of buoyant, danceable performances alongside more avant-garde compositions suggests a future where festivals might feature eclectic line-ups that combine mainstream appeal with experimental artistry. Artists like Riahi, who blurred the lines between genres with rich electronic soundscapes, exemplify how the integration of different styles can entice a spectrum of listeners.
The rise of collaborations among musicians from various backgrounds, as seen with the German-French pairing of Daniel Erdmann alongside international talents, may also gain traction. Such cross-cultural partnerships enrich performances, draw larger crowds, and foster a sense of community among attendees. The fusion of traditional instruments with modern sounds, combined with innovative visual elements, signals a move towards a more immersive festival experience.
Moreover, the increasing focus on social themes within the music—evident in performances by bands like Bipolar Feminin—indicates a shift toward artistry that engages with contemporary societal issues. This socially conscious approach to music-making not only attracts an audience that is looking for meaning in entertainment but also amplifies the cultural significance of festivals as spaces for dialogue and reflection.
As these trends evolve, music festivals may increasingly serve as platforms for experimentation and collaboration, where artists can push boundaries and audiences can engage with a rich tapestry of sound and meaning. The interplay of accessibility, cultural engagement, and genre-blending will likely shape the future landscape of music festivals, making them more relevant and exciting than ever.