Moor Mother / Razen

Two concerts that pull you into listening: a voice that shifts language, and an ensemble that lets a sound field emerge layer by layer. Moor Mother brings a duo set with cellist Mathis Mayr. Camae Ayewa moves between poetry, sound, and research, and exposes how colonial histories continue to work in the present. Her latest album, 'The Great Bailout', starts from the British compensation for slavery: a state loan, paid off until 2015, which did not compensate the victims but slave owners. Voice and cello meet without a fixed role distribution: text, tone, and noise that put each other under tension in real time. The ensemble Razen starts from sound itself. Their latest album, 'Stained Glass Starling' (VIERNULVIER Records), recorded in a living room and largely in one take, shows music in its most concentrated form. Brecht Ameel, Kim Delcour, and Dick van der Harst build a sound field together with Berlinde Deman and Paul Garriau as a painter works: layer by layer, with attention to tension, texture, and nuance. A wide range of instruments, including the Erhu and the Javanese kacapi, subtly tilts the soundscape. A co-production with Gent Festival van Vlaanderen, a leading music festival that primarily focuses on classical music, but just as gladly explores new horizons with surprising formats and diverse music genres. Every year, the festival welcomes artists from all over the world: from soloists and small ensembles to impressive symphony orchestras. The program is bold and versatile, with concerts, music theater, dance, and multidisciplinary performances that intertwine art forms.