Goosebumps In the Courtroom: When Music Turns Into a Power Play
»Den Stærkes Ret« is one of the most intense musical experiences I have had in years.
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»Den Stærkes Ret« is one of the most intense musical experiences I have had in years.
At Alice, Gintė Preisaitė and Drew McDowall showed how electronic music can be both unsettling and enveloping.
»The dancers in 'We Continue…' move between seaweed, drones and subtle beats, exploring how humanity goes on – even when nature revolts.«
Imagine if the texts had been carried by actual verses, hooks, and choruses – elements that might have turned them into true earworms.
On their second release »Kaikō«, Treen show how free improvisation can balance between independence and shared direction – carried by trust, gravity, and an organic flow.
»George Benjamin’s modern classic unfolds on the Old Stage as both a brutal love story and a musical paradox, where violent noise meets transparent silence.«
Deep listening and the acoustic phenology of whale song
This year’s Rued Langgaard Festival set out to open the gate to Danish mysticism, but at times disappeared itself into a haze of filler and gimmickry – though a few concerts stood strong.
»Music to me is – having spent a lot of time listening, composing, and thinking about it – still, essentially, a mystery.«
Lost Farm Festival transformed an abandoned farm into a global gathering point for grief, anger and creativity – where concerts, rituals and installations turned Sjællands Odde into a new center of the world.
Copenhagen Opera Festival 2025 turned away from opera’s classical themes of fate and instead gave space to intimate music-dramatic experiments on queer identity, domestic violence, climate crisis, and mental illness.
Music for me is a universal tool for opening myself for feelings.
Music is inseparable from listening: a close, attentive act. It’s not about beauty, truth or even intelligibility, but connection.
Struer Tracks showed that even municipal branding can open new worlds when sound art gets involved – from glitching rat voices in the basement of the music school to subwoofers that shook the harbor.
Savonlinna’s castle festival lets Finnish national opera resonate between stone, lake, and summer night – and shows how dark dramas can mirror the soul of a people.
The music is brutal, relentless. But could it have been more: more in colour, beyond the duel?
At its best, the ambitious sound art walk »Witness Stand« at Refshaleøen pierces right into Copenhagen’s gentrification of the old industrial area. But does it realise that it is itself part of the problem?
A few days before this year’s Copenhagen Opera Festival begins, I, as a critic, have been asked to keep away from one of the festival’s most experimental performances at the theatre Sort/Hvid. This is a complete misunderstanding of the role of criticism.
»Sofie Birch and Antonina Nowacka create a sensuous acoustic space where the dream of another time is allowed to emerge.«
An anti-anthem for those who fall asleep at concerts and wake up with Cage talking nonsense.
Borealis in Bergen promises experimental music but falls short when it comes to traditional concert formats. Instead, magic emerges when the audience is invited out into the forest or into floating sound saunas.
Music is the infinite sound of humanity, in all of its manifestations.
»For me, music is a particular engine for diversity, identity, individuality, and community.«
The idea is strong, simple, and well executed. Like the sonic version of a cartoon mirage shimmering falsely in the sharp Californian sunlight.
From digital melancholy and ritual noise assaults to pure silence – MaerzMusik explored the tactile forces of sound and the boundaries of the body.