• review04.06

  In a Forest Without a Path

  
  Niels Rønsholdt’s new music-theatre work »Osmosis« creates a compelling universe of inverted trees, yearning voices, and rock-inflected asceticism. Yet the work’s central idea remains elusive.

  By Henrik Marstal
• review25.05

  From Coal Dust to Sound Art

  
  Contemporary music is still alive – but often despite its own obsession with complexity and endless duration. That became clear at the festivals in Witten and Cologne.

  By Jeppe Rönnow
• review18.05

  In Aarhus, Music Refused to Stay in Its Lane

  
  While the industry talked about AI and formats, it was the bodily, fragile, and defiant musical experiences that lingered at Spot 2026.

  By Therese Wiwe Vilmar & Andreo Michaelo Mielczarek

• review10.05

  Longing for Plural Listening

  
  At the Archipel Festival, listening became both a sensory experience and a political question.

  By Wioleta Zochowska
• review06.05

  From Cringe to Cosmos – and Back Again

  
  Spor 2026 took its audience from embarrassed laughter to resonant sonic landscapes in a festival that both transgressed boundaries and overwhelmed the senses.

  By Therese Wiwe Vilmar
• review03.05

  Music After the Breakdown

  
  Chopin was shattered, instruments reinvented, and time dissolved at Only Connect in Oslo.

  By Robert Barry

• review17.04

  In the Shadow of Pärt

  
  Estonian Music Days revealed a musical culture caught between tradition, renewal, and a restless world.

  By Henrik Marstal
• review08.04

  It Sounded Wild – But Did it Last?

  
  MaerzMusik in Berlin opened with 50 pianos – and bold experiments that didn't always land.

  By Mathias Monrad Møller & Andreo Michaelo Mielczarek
• review29.03

  CTM Festival in Berlin: Is the Electronic GPS Still On?

  
  For a long time, CTM has served as a beacon for contemporary electronic music. But in an increasingly fragmented scene, the question arises: does the festival still show the way?

  By Andreo Michaelo Mielczarek