Three days at a conference on ambient music prompted me to reconsider the genre’s old heroes, its relationship with AI, and its strange journey from niche to ubiquitous background music.

For a long time I scoffed at metamodernism. Now it has made the last 30 years of composition music hang together. But it is misleading when music scholars call metamodernism a school.

From Old Testament wisdom and hippie dreams of community to erotic nightclub atmospheres and dark, rumbling techno. Roskilde Festival 2026 is a wild ride through eras, genres and mental geographies – and a good place to practise carrying dreams carefully through the extreme conditions of our time.

Women opera composers of the past have returned for good. But how do we break the closed circuit of opera history?

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.

Roskilde Festival insists on ecstasy and togetherness, but the most beautiful moments arise in the dark, where the curious still dare to listen.