There was something liberating about watching 83-year-old Peter Laugesen step onto the stage at Phono with a new band and not a trace of nostalgia. There was no hint of a poetic lap of honour. But plenty of noise. The trio Farvel – Halfdan Magnus Stefansson (guitar), Gustav M.K. Lauridsen (bass) and Jens Højbøge Mosegaard (drums) – did not play politely around the poet. They laid down a massive carpet of stoner rock and free improvisation beneath him, as if the words had to be wrenched free from gravel and distortion. At first the music moved heavy and viscous. For a long time. Then it accelerated. And Laugesen accelerated with it.

He sat on a chair in the corner, leafing through his books, speaking of dawn, of children at play before they disappear, of Finnegans Wake, Winnie-the-Pooh and an irate »then thaw, for fuck’s sake.« The words did not fall in rhythm – they landed like bolts on a workshop floor. Laugesen’s baritone is still as coarse as steel wire; the Brabrand accent refuses to be polished. He played the harmonica. It sounded more than off-kilter – a twisted blues.

Farvel emerged from a jazz ambition that dissolved and found another path in the abrasive aesthetics of 1990s noise rock. It suits Laugesen. The three young musicians did not play behind him, but with him, across generations, on equal footing. This was no solemn celebration of an ageing poet. It was a workplace filled with friction. At Phono, Laugesen sang – yes, sang – the prose of life across a wall of sound. His voice cut in between the rumbling bass and the grit of the snare drum. He spoke of »ash in the ear«. You left carrying precisely that: a tremor in your hearing. When language meets resistance, it can still strike sparks.

Phono. 12.02