“Teaches of Peaches” – Regal Riviera – 2:45 p.m.
“Teaches of Peaches” is a 2024 documentary directed by German filmmakers Philipp Fussenegger and Judy Landkammer that documents Peaches during her 2022 tour that marked the 20th anniversary of her seminal album “The Teaches of Peaches.” The film reviews the Canadian musician’s time starting out in Toronto before moving on to Paris and finally settling in Berlin, where Peaches perfected her sound for what would be her breakthrough album. The documentary also explores her rise in an industry that just did not understand her at the time, as explained by friends and collaborators. Shirley Manson is featured in the film and gives Peaches glowing compliments for her DIY ethos and her nonapologetic views on everything from feminism to her explorations of sex in her songs. Feist, who is also featured, at one time was a roommate of Peaches and appeared alongside her at early shows as a hype person and backup vocalist. Overall, the film is a perfect blend of exploring Peaches’ roots to her current relevancy as a voice and champion for all humans. The film received a deserved round of applause at its conclusion. – John Flannagan
Violins of Hope: Strings of the Holocaust – Digital Motif Gallery – all weekend long
If you have any free time during Big Ears, make your way over to the Digital Motif gallery to view this once-in-a-lifetime exhibit. It is one of the most moving and powerful exhibits that you can experience, as it’s equal parts historic and educational. Violins of Hope tells many stories of Jewish musicians and their violins which survived the Holocaust, with the refurbished instruments on display, living on to tell this important story for generations to come. One of the most impressive pieces on display was a violin made by a POW who was imprisoned for five years during World War II. During his imprisonment, he fashioned a violin which has unique carvings and markings on the back and sides. This is truly an extraordinary piece in one of the most impressive exhibitions you will take in at a music festival. – JF
“The Mockingbird” – RB Morris and William Wright, St. John’s Cathedral – 7 p.m.
RB Morris and Wil Wright are longtime figures on the Knoxvillle music scene and both have international reputations. On their first collaboration, Wright (a veteran of the acts Senryu, LiL iFFy and more recently a film and stage composer) created a dramatic musical backdrop for one of songwriter/poet/playwright Morris’ most lovable projects, “The Mockingbird Poems.”
With a talented chamber orchestra that included strings, clarinet, flutes, electric guitar, keyboards and a three-woman choir, Morris was enveloped in music while he recited his sometimes whimsical and always thoughtful verse inspired by one of nature’s most naturally creative creatures. Inside St. John’s Cathedral, the music was full and resonant. It enhanced and complemented Morris’ poetry. Unfortunately, the venue worked against hearing Morris himself, with maybe only half of what he spoke being discernable. It made you wish that Morris had moved among the crowd while speaking rather than being rooted between the musicians and the conductor. Moving from place to place might have been even more mockingbird like. Yet, even hearing only half was worthwhile.
Let’s hope all concerned are working on making a recording of the project that makes the poems as clear as the music. Both are beautiful and deserve to be heard again and again. – Wayne Bledsoe
Immersion/SUSS – Regas Square – 7:30 p.m.
An at-capacity Regas Square resulted in a substantial queue to enter, but the wait was worth it. The punchy guitarwork of Colin Newman and entrancing synth pulses of Malka Spigel melded into one lean, propulsive entity that galloped along the pastoral scenes and natural imagery depicted in the stunning and rather bright visual art projecting from behind the duo. Though the absolute precision of the rhythms was almost robotic in its flawless execution, the overall sound was warm and inviting and elicited lots of smiles and bobbing of heads around the cozy room.
On the other end of the emotional spectrum was the stark ambient country of SUSS, which evoked desolate wind-swept vistas with its patient, lonesome instrumentation. Single notes developed individual personalities the longer they were sustained by the New York City-based trio; some were mournful, others suggested hope, but all were striking. Exiting before the two bands joined forces to present their collaborative Nanocluster material, it was nevertheless both a pleasure and a privilege to witness each demonstrate its own special skillset in such an intimate environment. – Matt Rankin
Bela Fleck, Edmar Casteneda and Antonio Sanchez – Tennessee Theatre – 10:45 p.m.
Bela Fleck has done more than anyone on earth to stretch the boundaries of the banjo. Be it bluegrass, jazz, folk or world music, he has always found a way to make the instrument shine. Knoxville, and especially during Big Ears, has been a place where he has found a receptive audience for new projects. His latest, as displayed Friday night in a performance premiere, is a stunner. Along with Colombian harpist Edmar Casteneda (a Big Ears veteran with Fleck) and Mexican drummer Antonio Sanchez, he created music that was mind-bending.
While Fleck kept his usual cool, control and smarts, Castaneda brought the passion and drama playing the harp with an almost hard rock attitude. The contrast with the way we’re used to seeing the instrument played was staggering. Sanchez, a veteran of bands with Pat Metheny, Chick Corea, Charlie Haden and others, pounded out a creative mix of polyrhythms and flourishes that could’ve been fully entertaining on their own. It was, in fact, Sanchez who created the all percussion soundtrack for the film “Birdman.”
That’s one of the things about the Big Ears Festival. Pretty much any of the musicians can (and often do) perform an enthralling set just as a solo artist. However, this is a place where collaboration creates magic. The artists feel it and the audience feels it, too, and the audience’s energy becomes part of the process. Fleck, Casteneda and Sanchez definitely felt it. – WB
Darkside – Mill & Mine – 11:30 p.m.
Darkside, who are now a three-piece, closed the first day of Big Ears in tremendous fashion to a capacity crowd Thursday night. The group opened with a 15-minute banger to set the stage and went on to perform a balanced setlist which included tracks off all three of their albums, including three songs off their latest work, “Nothing.” The newly added percussion by new member Tlaacael Esparza really accentuated earlier tracks such as “Golden Arrow / The Limit,” which gave off a jammy vibe at times, proving Darkside are a unique act whose style can fit into any festival billing. Performing behind white lights and plumes of fog, the silhouettes of the band members kept us moving into the wee hours of Friday morning. – JF
