Seemingly lighter schedule still provides copious surprises, standout performances
By Wayne Bledsoe, Jennifer Duncan-Rankin, Rusty Odom and Matt Rankin
Nikki Giovanni
Seeing Knoxville native Nikki Giovanni return to her hometown is always a treat. She is, of course, one of the country’s most respected and awarded poets, but she also is – and always has been – a sort of bright light shining truth where it needs to be illuminated.
On Saturday morning at the Mill & Mine, her long introductions to her poetry were sprinkled with everything from support for transgender teens to the fact that slugs have two penises. She joked about the differences between sons and daughters, men and women and Black and white people. In person, she’s not only a poet, she’s a cultural commentator, a motivational speaker and almost a stand-up comedian, as well. She charmed the audience at every turn, telling sweet reminiscences of her time in Knoxville living with her grandmother and the landmarks in town that held special significance to her.
Her poetry was, as always, beautiful and insightful. Yet one of the most touching moments was when she spoke about the pride she has in being from Appalachia and her disdain for the stereotypes of the region’s people. She pointed out that the formation of West Virginia was due to the mountain people of Virginia refusing to fight for slavery during the Civil War and the kinship that always has existed between the independent whites and Blacks of the mountains.
Even though Giovanni, now 78 years old and a distinguished professor at Virginia Tech, grew up during segregation, she acknowledged her love for the people and history of the mountains both in talk and poetry. For those of us who always have lived in Knoxville, it was a wonderful moment to see a room full of people, many of whom are visiting from out of town, hearing such a legendary figure speak about the area in a way that many of them had never heard. Hell, many native Knoxvillians have never heard someone speak about it like that!
By the end of Giovanni’s talk and reading, you could not have walked away without feeling this great artist’s warmth and goodwill and an almost overwhelming sense of pride that she is from Knoxville. – Wayne Bledsoe
Mary Lattimore & William Tyler: Electric Appalachia
There wasn’t the preponderance of live scores of films this year like in past Big Ears, but Mary Lattimore and William Tyler kicked off programming at the Tennessee Theatre on Saturday by playing atop local film “Electric Appalachia.” It was the long-awaited premiere of the brilliant work of McClung Historical Collection manager Eric Dawson, and it examines the launch of the Tennessee Valley Authority and all of the changes that electricity and hydroelectric power brought to the region. The film was layered perfectly by the duo, as they aurally matched scenes of rising waters and Appalachian characters of yesteryear. If there’s another chance to catch this work (and there certainly will be), it’s a worthy watch for all in East Tennessee and beyond. – Rusty Odom
Myra Melford’s Snowy Egret
If you don’t get a taste of progressive jazz at Big Ears, you’ve missed the mark a little bit. Myra Melford and her band Snowy Egret performing at The Standard easily fit the bill. At the beginning of the set, the pianist/composer/bandleader paid tribute to Ron Miles, the great trumpeter/composer who had been a part of the group and was a Big Ears alumnus. Miles died on March 10, and this show was dedicated to him.
With band members Ted Poor (drums), Stomu Takeishi (bass) and Cuong Vu (trumpet), Melford created wild, chaotic musical fireworks that seemed to shoot off in all directions before coming together with melodic passages and then flying apart again. The band’s virtuosity made it seem magical and organic. – WB
Yasmin Williams
Generating content takes time, so writing, editing and processing photos in a timely fashion can prove challenging at a festival like Big Ears that is jam-packed with must-see performances beginning in the a.m. hours and lasting until … the a.m. hours. So even after scrambling mightily to finish the prior day’s work ahead of Saturday’s shows, I still found myself running behind and crossing the Gay Street Bridge into downtown a good five minutes after the scheduled start to one of my most anticipated shows of the weekend.
By a stroke of luck, though, the doors of First Baptist had yet to open by the time I arrived, affording me ample time to access the sanctuary and snag my seat of choice, a padded chair along the back wall outside of the apse (instead of the uncomfortable pew I already had resigned myself to having to accept). Normally, a 20-minute delay in programming at a festival would be cause for consternation; however, on this occasion at least, the combination of my lateness and Williams’ affable emergence to the altar coincided nicely.
Funny and engaging yet also nonchalant, the acoustic guitarist’s welcoming approach extended to the set itself. Refreshingly grounded, she immediately established a loose mood akin to that of an informal workshopping session, and – in a move I’ve never seen before from any artist, ever – encouraged the audience to pepper her with questions if it were so inclined. In between songs, Williams explained her guitar technique, demonstrated it and offered pointers for any prospective players in the audience.
Such an inclusive attitude is rare at an exclusive gathering like Big Ears. But then again, the performer positioned herself Saturday afternoon as someone who is as much of a fan of the event as she is an artist on the bill. “This is just the coolest festival,” she gushed, disclosing the fact that she had attended five shows in just three hours soon after arriving in Knoxville. “I’m so happy to be here,” she added, echoing the sentiments of Arooj Aftab on the previous day.
Williams’ tone was rich and resonant, and the acoustics of the room only served to foster it. The technical proficiency of her fingerpicking was active yet exacting, making it sound as if multiple players were onstage, but no warmth was sacrificed in its conveyance; the music on display was the kind of sustenance that nourishes the soul, an ideal way to start the third day of Big Ears. – Matt Rankin
Meredith Monk & Bang on a Can All-Stars
There are so many wonderful things taking place over this festival weekend that it can be quite difficult to catch an entire show. Though I was unable to arrive in time to hear the beginning of this set, what I did observe really was something to behold. Experimenting with sound is something children do instinctually, and it’s a shame that so many of us stop as we age. Monk can be polarizing, but this performance was fun and playful. And if you stop trying to anticipate what is coming and simply appreciate the musicality our bodies are capable of producing, you just might regain that desire to do some experimenting of your own – Jennifer Duncan-Rankin
Nubya Garcia
“Is this jazz?” asked BLANK publisher Rusty Odom a few songs into this set by Garcia, a young English purveyor of the artform, at the Mill & Mine. “If you have to ask … “ I replied, not fully believing the question was intended as a joke. But despite that snarky response, I’m definitely no expert on the genre myself, and I sympathize with anyone who struggles to understand its workings. And while some of these tunes were more standard in nature, the ensemble embarked upon some truly exploratory journeys, as well.
Emitting sounds better befitting a dark, swanky club in the wee hours of the morning than the interior of a utilitarian warehouse space on a sunny afternoon, the ace tenor saxophonist nevertheless illuminated the environs with her playing, her equally exceptional backing band also conjuring magic. Rollicking runs begat quiet sustained notes that then exploded into impassioned wailing, while spooky electronic accoutrements lent the music a decidedly modern feel but also vaguely recalled the vibe of “Kid A”-era Radiohead.
The variety of material was impressive, as the group performed several different takes on the musical style. A solo interlude that seemed to include snippets of covers offered similar range. The experience was inspiring, even if it proved to be challenging for some. “I’m almost there,” said an optimistic Odom near the end of the set. “Just one more, and I think I’ve got it.” – MR
Wil Wright
One of the great things about what the Big Ears Festival has become is that it has spread out to include free performances, many of them showcasing local talents. Longtime musical renaissance man Wil Wright performed his recent modern classical pieces in a quartet that featured Cecilia Wright (cello), Preston Davis (upright bass and violin), Slade Trammel (keyboards) and Wright himself on keyboards. While he has had a career that included leading art-rock band Senryu, being half of the modern pop act Peak Physique and as the successful rap act LiL iFFy, Wright’s classical work and film scoring has been winning him awards and acclaim at a whole new level.
On Saturday afternoon on the roof of the Hyatt on Gay Street, Wright (who also writes for BLANK) and his group performed the recent works “Salt Mass,” “The Swim Lesson” and “Make Me New Again.” Those who have known him in his many other guises would not have been surprised at the high quality and emotional depth of his classical works, but anyone not familiar might be surprised that he and these musicians are all Knoxvillians. Although the space was cramped, the music was beautiful and touching. It’s a testament to both Big Ears and Knoxville that they have become places that nurture new art by great local artists who, like former Knoxvillians Nikki Giovanni and Yves Tumor, are going on to earn international acclaim. – WB
Joseph Allred
It’s thrilling to have world-renowned artists come to your hometown and to be able to take in all the culture sitting outside beyond your front doorstep. You know what else is cool, though? Having people from all over the world coming to YOUR town and to YOUR favorite venue and being able to show off some homegrown magic in YOUR own backyard. Joseph Allred put on a simple yet exquisitely beautiful and sincere show to a packed house at the Pilot Light, home sweet home to so many of us here in Knoxville. His voice, so delicate and earnest, was lovely to experience in the warmest and most welcoming of places in the Old CIty. – JDR
Maspeth
Knoxville’s own Joseph Gillenwater is an unmistakable talent, local or otherwise. A stark contrast from the music he made with nationally recognized electro-pop group Royal Bangs, his present work is sparse, quiet and gentle while still delivering an incredibly powerful punch. Adorned with only a small guitar, his hushed vocals grab you at your core as the sweet rhythms wash over you. Save for a brief stint in Brooklyn, Gillenwater has been one of our local music scene’s best kept secrets. – JDR
Moses Sumney
If “The Fifth Element” were a musician instead of a film, it would be Moses Sumney.
Saturday’s headliner, the second overall name listed on the 2022 bill, made it apparent from the opening moments of his show that such a placement was appropriate.
After being born in San Bernadino, California, Sumney moved to Ghana when he was 10 years old, but he now lives “just over the mountain,” as he called it, in Asheville, North Carolina, and he routinely espoused his love for the Appalachian region throughout the show. It was comforting to see such an otherworldly talent be proud of where he landed at a festival that welcomes guests hailing from all over the globe.
With vocal range unlike anyone we’ve ever heard outside of Prince, Sumney created a show that was as artful as it was mesmerizing. A static backdrop waited as the near-capacity crowd shuffled in. As the lights lowered, what would prove to be an outstanding band took the stage and began playing. Moments later, Sumney took to the stage, and the crowd went wild. Wearing a black cape with some variation of flowery harem pants, he danced, rotated and crawled his way through a 13-song, 75-minute set. (It actually went over by a couple of minutes, which was just fine with us.)
Highlights included opener “Insula,” which began sounding like Big Ears alums Spiritualized before beckoning the sounds of Nine Inch Nails, and mammoth closer “Doomed,” but it was a cover of Björk’s “Come to Me” that found Sumney walking through the crowd, crooning while handing out roses, then launching the rest of the bunch at the song’s crescendo.
In all my years seeing music, I’ve never seen anything quite like what Sumney and crew put together Saturday evening, but, really, that’s something I say at the conclusion of each and every Big Ears. We cover this festival for a reason, and that reason is for mind-blowing artists like Moses Sumney. – RO
Alex Leach Band
A weekend full of the avant-garde is cool and all, but the tried-and-true shouldn’t be left out of the conversation. East Tennessee’s own Alex Leach Band put on two stellar sets Saturday night at the Jig & Reel. They were full of traditional favorites such as “Back to Old Kentucky,” covers of the likes of Fleetwood Mac and even originals that easily could have been mistaken for timeless classic bluegrass. Local legend and stone-cold fox Matt Morelock joined in on the fun for a double set that was as warm as comforting as the establishment’s mac and cheese puff pastry followed by a shot of whiskey. – JDR
The Drips
The Knoxville trio began by producing a slight drone that escalated to include low-end rumble and percussion until the number sounded like it was about to take off and blow through the front door of the Pilot Light … before it abruptly and unceremoniously was brought to an end, with frontman Steve Gigante offering only a coy, “Thank you!” to the audience instead of the anticipated release of emotion. Such was the tenor of the entire performance, which oscillated between punishing punk rock and tongue-in-cheek performance art.
Frustrating at times even to someone who felt like he was in on the joke, credit must be given to the ringleader of this circus for relentlessly sticking to the plot. If Moses Sumney had provided a taste of the sacred earlier, Gigante was dead set on making sure we would wallow in the profane under his supervision. Over brutal dirges, he let fly foul-mouthed, stream-of-consciousness tirades. Some were directed at the festival, others at the capacity crowd in front of him. One was hurled at a sister publication whose photographer had just entered the room.
The whole scene was madcap. Too quick of a turn of the head by a gent next to me drove the bill of his cap into the eye of the young lady accompanying him, seemingly lacerating it. A woman in front of me caught the lip of the raised portion of the floor in the back of the club with her foot, causing her to lose her balance and go down in a heap. (Thankfully, she immediately sprung back up, no worse for the wear.) And it was impossible to tell if the absurdly long pauses between songs were down to technical difficulties or the result of having been staged to up the ante.
But whereas a high-risk, high-reward approach did not play out so great for Annette Peacock at the Tennessee (that was the word on the street, at least), it actually worked pretty well for The Drips, and that was primarily due to the quality of the music. Gigante’s screaming guitar riffs, Damion Huntoon’s chest cavity-rattling bass runs and Jason Boardman’s precise drum fills combined to delirious, deafening effect. All things considered, although it often was infuriating, the performance was thrilling, as well, and should be labeled as nothing other than a success – for the group, but for me, too, as I discovered my new favorite Pilot Light band. – MR
Patti
Sometimes a gal just has to rock out, you know? Brooklyn’s Patti (not to be confused with the other one at this Big Ears) brought the energy, the grittiness, the straight up RAWK that was needed in a day of shows filled with synths, drones and – right before we wandered into the Pilot Light – banjos. This band would be right at home inside this venue on any night of the week, and not just during this weekend. I said Minutemen, another BLANK pal said Butthole Surfers, but whoever you want to throw out as a reference, Patti were wholly badass and deserving of its slot at this esteemed festival. – JDR
