Big Ears Festival Guide • Madame Weezy’s Big Ears Horoscopes • Big Ears Creator Ashley Capps Interview • Big Ears for Small Ears
intro by Rusty Odom • photos by Bill Foster
It’s hard to believe that a festival like Big Ears takes place in Knoxville, but during the final weekend of March, one of the region’s most vibrant cultural touchstones returns for its 13th iteration in 18 years.
There’s a lot going on, dear reader. And if the musical schedule wasn’t challenging enough, the Tennessee men’s basketball team is seeking it’s third straight trip to the Elite Eight over the weekend, making the decisions all the more difficult.
Part of our tradition at BLANK includes sneaking in a bit of the basketball action at Local Smokey or Marble City Food Hall between seeing artists like David Byrne, Model/Actriz, Lucrecia Dalt, John Zorn, Cymande and Dave Harrington.
What a time to be alive.
Whether or not the Vols survive and advance, there will be plenty of reasons to dance during the festival and below are a just a few of our highlights for the weekend, along with the times and venues at which they will be held.
Be sure to check in at www.blank.news for daily recaps. We’ll try to have them up each day by 2 p.m. if not earlier.
Terry Allen (6 p.m. Thursday, The Blackbox; 4:45 & 6 p.m. Friday, KCA)
Though best known for his 1970s albums “Juarez” and “Lubbock (On Everything),” two masterpieces of deconstructed country and folk music, Texas native Allen has a long and serious career in the art world. His works include printmaking, sculpture, installations, painting, writing, video, radio plays and mediums I’m not sure there’s a name for. His work has appeared in Documenta and the Whitney Biennial, as well as pop-up cafes.
Anyone who read Brendan Greaves’ 2004 biography of Allen, “Truckload of Art,” can tell you he’s had an interesting life in and out of the art world. Now you have the chance to hear all about it from Allen himself, along with his wife Jo Harvey and son Bukka, at two separate performances. “Truckload of Art” at The Blackbox on Thursday features Greaves reading from the book, punctuated with songs and stories by the Allens.
“Memwars,” an autobiographical multimedia installation performance to be presented twice on Friday at the Civic Auditorium, finds the Allens backed by the Panhandle Mystery Band; Richard Bowden on fiddle and mandolin; Bukka Allen on accordion; Charlie Sexton on guitars; and Davis McLarty on drums. These events take place in one of the smallest Big Ears venues and its largest, respectively, and given Allen’s taste for the theatrical and bizarre installations, both will surely be unique experiences. – Eric Dawson
Turning Jewels Into Water (6 p.m. Thursday, The Greyhound)
This experimental electronic duo named itself after the potential impacts of climate change. Turntablist Val Jeanty met percussionist Ravish Momin in Brooklyn in 2017, and the pair quickly released its first full-length “A Map of Absences.” The project blends elements of Indian folk, voodoo and ancient rhythms with electronic beats, and themes of ritualism and modern technology are present throughout. – John Flannagan
Julianna Barwick & Mary Lattimore (7:45 p.m. Thursday, First Presbyterian Sanctuary)
While both artists will perform solo and/or jointly elsewhere over the weekend, the January release of “Tragic Magic” has us excited about this specific collaboration. On that album, Barwick’s looped atmospherics and haunting vocals melded organically with Lattimore’s ghostly harp, producing a sound that is both modern and timeless. The historic church on State Street should provide an ideal insular environment in which to experience the beauty of these otherworldly compositions. – Matt Rankin
Tunde Adebimpe (8 p.m. Thursday, Mill & Mine)
Though best known for fronting iconic indie-rock outfit TV on the Radio, Adebimpe has long dabbled in various art forms, from visual media and acting to writing and, ever increasingly, avant-garde pop. His 2025 solo album “Thee Black Boltz” found him retaining the same penchant for melody that punctuated his work with TVotR while also exploring more experimental sounds – material that should be tailor-fit for both this festival and this venue. – MR
SML (8:15 & 9:45 p.m. Thursday; 8 & 9:30 p.m. Friday; 10:30 p.m. Saturday; 12 a.m. Sunday, The Greyhound)
Making their second Big Ears appearance, SML has grown into a larger role at this year’s festival, playing in residency over three nights at its newest venue. After gaining traction for their small, intimate shows at Highland Park ETA, their 2024 debut proved revelatory to the jazz world. They followed up that lauded first album with 2025’s “How You Been,” solidifying themselves as not just technically proficient but also as true visionaries.
Blending elements of R&B, electronica, indie rock and, of course, jazz, SML has expanded the medium to a broader audience. Most importantly, they now have the world of avant-garde music on its collective toes, and their residency at Big Ears – as well as their continuing sonic progression – should prove exciting to anyone who listens. – Daniel Britt
YHWH Nailgun (9:45 p.m. Thursday, Mill & Mine)
Now this is the stuff. A friend sent me a text with a link to YHWH Nailgun’s album “45 Pounds,” and I damn near lost my mind before I was halfway through the first song. (Which is only 2:09 long.) In my world, “What the hell am I listening to?” is the highest compliment that can be paid to a band operating in a form as old and tired as rock music. Nailgun are similar to bands like black midi or Still House Plants in that they use trad rock instrumentation to create a kind of music that could only have been imagined by people who grew up in a world dominated by electronic music. But Nailgun has the advantage of being from NYC, where Latin percussion and dance music rubbed elbows with post-punk and industrial music. They’ve absorbed all this and more and re-present it in their debut album. They should be a glory to witness live. – ED
Taper’s Choice (10:30 p.m. Thursday, Jackson Terminal)
A jam band for folks who don’t really like such fare, this group comprises Dave Harrington (Darkside), Alex Bleeker (Real Estate), Chris Tomson (Vampire Weekend) and Zach Tenorio (Arc Iris). Joyful, psychedelic and eclectic, the quartet is comfortable exploring multiple themes within a composition without ever forgetting to return to the central thesis, always ensuring that any excursions are wrapped up nicely with a bow at the conclusion of the track. Rarely noodling just for the sake of it, each note is thoughtfully considered and immaculately rendered, details one might expect from a supergroup of this pedigree. – MR
Tune-Yards (1 p.m. Friday, Mill & Mine)
This duo comprising Merrill Garbus and her partner Nate Brenner has been crafting an eclectic blend of indie pop and world music since 2009, releasing 10 LPs over that time. The most recent, “Better Dreaming,” is the pair’s most accessible and danceable effort to date. Each album by the constantly evolving Oakland group features a specific theme or sound, and its live show is just as stimulating. This one should provide a jolt of energy for the early afternoon crowd; the unique sound and stage presence should have attendees buzzing afterwards. – JF
Wu Fei (5:30 p.m. Friday, St. John’s Cathedral; 5:45 p.m. Saturday, First Presbyterian Sanctuary)
This Chinese-born artist has spent her career reinterpreting and redefining traditional music in new and innovative ways. Fei has mastered the guzheng, a centuries-old string instrument that could be described as a combination of pedal-steel guitar and autoharp. Through experimentation and collaboration, she has created new sounds that are timeless while bringing a freshness that is both interesting and beautiful.
Now based in Nashville, Fei is well-known for her collaborations, particularly for having recorded and toured with Americana darling Abigail Washburn, with whom she appeared at Big Ears in 2018. This year’s iteration will feature a collaborative work with Sephardic multi-instrumentalist Shanir Blumenkranz on Friday and a solo performance of “Moon Hunter,” an improvisational original piece influenced by ancient Chinese folklore, the next evening. – Jennifer Duncan-Rankin
Pino Palladino & Blake Mills ft. Sam Gendel & Chris Dave (6 p.m. Friday, Mill & Mine)
Big Ears is famous for forging impromptu collaborations, but this partnership between legendary session musicians/producers Palladino and Mills developed naturally, resulting in the 2021 full-length “Notes With Attachments” and last year’s “That Wasn’t a Dream.” The elder of the two, Palladino replaced John Entwistle in The Who and has thumped the bass for heavyweights such as Elton John and Eric Clapton in a professional career that began in the early ‘80s.
Guitarist Mills has worked with such notable indie artists as Beck, Fiona Apple, Weyes Blood, Alabama Shakes, Feist, Laura Marling, Conor Oberst and Perfume Genius, but he also has rubbed elbows with the likes of Bob Dylan, John Legend, Bruce Hornsby and Lucinda Williams. The resumes of Gendel (saxophone) and Dave (drums) are just as varied and impressive. All together, they touch upon multiple genres and vacillate between patient piddling and cacophonous blowouts. – MR
Eliana Glass (6:15 Friday, First Presbyterian Sanctuary; 10:15 Saturday, Regas Square)
Glass’ debut album “E” seemed to appear out of nowhere last year. (It actually appeared thanks to stalwart experimental tastemaking French label Shelter Press.) Glass is one of those musicians you hear for the first time without any advance hype or warning and with whom you become immediately captivated, and “E” is an album that you know you’ll return to for the rest of your life after just one listen.
Comparisons to Patty Waters and Annette Peacock (whose song “Dreams” Glass covers) are inevitable and acceptable, as long as you recognize that all three might have similarities but are singular artists. As with any great jazz pianist, Glass’ touch and metre are all her own, and so is her vocal phrasing. She’ll be performing solo on Friday and on Saturday with a band that, on record at least, has a light, atmospheric touch. Both of these shows are sure to be memorable. – ED
GRRL x Made of Oak (11:45 p.m. Friday, The Standard)
When Nick Sanborn (Made of Oak) is not producing and DJing for Grammy-nominated duo Sylvan Esso, he is teaming up with James Mapley-Brittle (GRRL) to make high-energy dance music. The pair met in the North Carolina dance scene where their paths often crossed, leading to an eventual collaboration, the debut EP “Inertia,” in 2022. This late-night slot should be the perfect time to show off their style. – JF
Go Kurosawa (12:15 a.m. Saturday, Barley’s)
A founding member of Japanese psychedelic rock band Kikagaku Moyo, Go Kurosawa has been a cornerstone of the international psych community for well over a decade. From his first shows in Tokyo before moving on to Austin Psych Fest and Gizzfest, curated by King Gizzard & the Lizard Wizard, the multi-instrumentalist has a penchant for sparse, ethereal compositions that can effortlessly grab and hold your attention. He has adapted his creative process to working alone, and his first solo album, 2025’s “soft shakes,” further entrenched him as a force in the world of oddball rock. A work in adaptability, his sounds traverse divides between East and West, as well as reflection and levity, creating a perfect blend for a Friday nightcap. – DB
Bill Orcutt (12:15 p.m. Saturday, Regas Square; 7:15 p.m. Sunday, Jackson Terminal)
Orcutt’s restless mind and fingers have covered a lot of ground in the 15 years since his return to music following a decade’s hiatus after the dissolution of his legendary Miami hardcore band Harry Pussy. A series of searing improv-leaning electric-guitar records showed his woodshedding paid off, followed by a flood of releases revealing his iconoclastic take on acoustic guitar, conceptual computer-based music and endless, endless collaborations. His solo shows are always ecstatic experiences, and you never know quite what he’ll do, as you wonder if he even does. Saturday will provide attendees with the opportunity to see which way it goes.
Orcutt’s 2023 set with drummer Chris Corsano at Jackson Terminal was a Big Ears all-timer, and he’ll be returning to that venue on Sunday to perform with fiery guitarist-turned-bassist Ethan Miller and Sonic Youth drummer Steve Shelley. Their sole self-titled album captured a 2024 live performance that contains a groove sensibility from Miller and Shelley heretofore unheard on an Orcutt release, and Orcutt amicably plays along, alternately riding the classic rock wave and spewing wild electric-guitar scat all over it. Is this the contemporary rock version of those late-period Albert Ayler records where the free-jazz giant dabbled in pop? Come and see. – ED
Perfume Genius (3:30 p.m. Saturday, Mill & Mine)
Making his second appearance at Big Ears is Midwestern art-pop phenom Michael Hadreas, who has been performing under the moniker Perfume Genius for the last 18 years. Vulnerability has always been at the center of his craft, with themes such as love, self-doubt and mortality all expressed via an achingly beautiful falsetto that is equally effective as a whisper as it is when it soars.
With husband and creative partner Alan Wyffles, Hadreas has created a body of work that is soothing in tone while challenging comfortability and demanding honesty and empathy – not only from others in his personal sphere, but from individual listeners, as well. Though the emotions of navigating life as a gay man is ever-present in his music, the passion and heartache inherent in the journey is universal. – JDR
William Tyler & Yasmin Williams (7:30 p.m. Saturday, KMA)
It’s one thing to be technically proficient on an instrument, but it’s quite another to have the ability to manipulate it to construct lush, vibrant, nearly tangible aural environments. But such is the case with these two innovative auteurs, whose intricate fingerpicking styles reveal heretofore hidden dimensions. Both are Big Ears veterans and have collaborated with each other previously, most recently on Williams’ sublime 2024 release “Acadia.” While the guitarists haven’t combined on anything more than individual tracks, their Intuitive understanding and improvisational acumen are standout factors as to why their joint performance at the Knoxville Museum of Art – a venue a bit off the beaten festival path – will be well worth attending. – MR
Cymande (8:30 p.m. Saturday, M&M)
If you’re looking for your funky fix at Big Ears, look no further than Cymande, the legendary group of African and Caribbean immigrants who formed in the London in the early 70s.
The band’s sound has been sampled by numerous hip hop and electronic artists since then, so don’t be surprised if you hear something familiar during the Saturday evening set at the M&M. They reformed in 2013 after a four-decade hiatus and have toured from time to time since. Big Ears ticket holders are lucky to have this rare option and you can bet that Blank Editor Matt Rankin and myself will be partaking in our annual dance off at this one. – Rusty Odom
MJ Lenderman & The Wind (9:30 p.m. Saturday, KCA)
Lenderman wears many hats musically. In addition to his solo career, he is also a member of the bands Wednesday and Snocaps, the latter of which includes Katie Crutchfield, better known as Waxahatchee, who Lenderman steadily has been collaborating with for years now. Each of his projects has experienced an incredible string of successes over the past few years, quietly cementing Lenderman as a star in the Americana-adjacent indie-rock world.
Setting tales of hapless scoundrels to a fuzzy alt-country sound, his recent solo albums, 2022’s “Boat Songs” and 2024’s “Manning Fireworks,” gained widespread critical acclaim and endeared him to audiences. His songs carry a sincere charm that is often punctuated by their incisive, witty lyrics, creating an interesting and often thoughtful juxtaposition that has earned him comparisons to John Prine. The losers in his wry tales are often so relatable and on-the-nose that you think you know them – you just hope the reflection you see isn’t yourself. – DB
Flying Lotus (11:15 p.m. Saturday, M&M)
Steven Ellison makes his Big Ears debut this year after having been an instrumental figure in the worlds of electronic music and avant hip-hop for two decades. The Los Angeles-based producer has collaborated with countless artists, such as Kendrick Lamar, Thundercat and Thom Yorke, all while expanding on his experimental-jazz roots by blending an array of styles.
Aside from his studio works, Ellison has scored music for movies and TV in addition to directing several films of his own. Just this month, he released an EP, “BIG MAMA,” a two-disc effort with the second being a continual mix. This set should highlight the artist’s signature fusion of electronic, hip-hop and jazz in yet another Big Ears performance showcasing an innovative electronic pioneer. – JF
Deantoni Parks Technoself (2:15 p.m. Sunday, Barley’s)
Parks is one of the premier avant-garde drummers in music today. Although he is best known for performing with The Mars Volta, this solo project truly displays his skill and meticulousness as a percussionist. Employing live sampling and rapid-fire polyrhythms, he seamlessly blends acoustic drumming with electronic textures. This approach highlights his technical prowess – especially his ability to construct complex, layered beats in real time without relying on prerecorded loops. While his work with Volta is marked by explosive energy and improvisational interplay within a band setting, Technoself reveals a different side of Parks’ artistry. – JF
Richard Dawson (2:45 p.m. Sunday, The Point)
A longstanding entry on many Big Ears wishlists, Dawson of Newcastle upon Tyne brings his magic mind and fingers to the festival for the first time. One of the more unpredictable musicians emerging from the contemporary British/Irish/Scottish folk scenes, Dawson might run through some Derek Bailey-inspired improv runs on his Baby Taylor acoustic guitar or throw down in a more electric vein with Finnish psychedelic band Circle.
His lyrics can be playful and direct, (“Dr. Shen prescribed me beta-blockers, And recommended taking daily exercise, So I’ve started jogging, To my own great surprise, Hundreds of miles going nowhere”) or thorny and nigh impenetrable (the entirety of the 41-minute song “The Hermit”) but never dull. Adding to his songs’ charm is Dawson’s penchant for hyper-local references that help flesh out a story in the mind’s eye, whether you know the references or not. Dawson recently released a new solo album and an album with his terrifically odd band Hen Ogledd, and it will be interesting to see what he does during his performance at The Point. – ED
Chris Thile (3 p.m. Sunday, KCA)
Some people seem to be destined to be special, and this musical genius is absolutely one of those individuals. Born into a musical family, this MacArthur Fellow has been playing and touring the neo-bluegrass circuit since he was just a child. A consummate tinkerer and collaborator, Thile has expanded his repertoire beyond just his popular outfits Nickel Creek and Punch Brothers.
Pushing the boundaries of what can be accomplished on the mandolin, his latest album “Bach: Sonatas and Partitas Vol. 2,” released this past fall, is a sequel to his 2013 effort. The latest version was recorded in public spaces, with the sounds of life and nature in the background enhancing the ambiance of these beautifully intricate works and creating a truly peaceful and personal experience for listeners. – JDR
Shane Parish: Autechre Guitar (6 p.m. Sunday, PostModern Sound Exchange)
Many Knoxvillians are no strangers to guitarist Parish, as he’s performed about a dozen times at Pilot Light, either solo or with his former band Ahleuchatistas. He’s always up to something interesting, but transcribing Bill Orcutt’s “Music For Four Guitars” album and subsequently touring with the Bill Orcutt Guitar Quartet (including an appearance at Big Ears 2023) the last few years might have opened up a whole new approach to playing for him.
Enter “Autechre Guitar,” Parish’s recently released solo album of guitar pieces transcribed from tracks by electronica legends Autechre. While the British duo’s music can be famously harsh and discordant, Parish has plucked out the gentler melodies and repetitive patterns lurking within. Parish has recorded covers albums on acoustic guitar before, but how wild is it that Autechre would be the source for one of his most straightforwardly pleasant listens? – ED
Check www.blank.news for daily recaps during the festival.
