2025 Big Ears Festival, Day 4: Sunday, March 30

 

By Sarah Grosser

I had been fortunate enough to use my Media wristband as the equivalent of a Premier pass, and boy does it make a difference to use the Premier queues. If you can’t quite afford the VIP lane, which is also reserved for artists, the Premier pass is worth the investment for its “second priority” lane, allowing you preference of entry over those with general admission. This allows you to find better seats or standing room first, although some smaller venues such as the Jig & Reel, there are no priority lanes due to maximum capacity being much smaller. If you line up early enough for a show you really want to see, you will get in. I did not find queueing to be an issue at all. In fact, I think this is one of the most splendidly organised aspects of the entire event. Plenty of staff are on hand to check bags and scan wristbands, so there is never too much of a stall, and most everyone working and volunteering was polite and welcoming.

Phantom Orchard (Ikue Mori & Zeena Parkins) at the Bijou Theatre

Phantom Orchard. Photo by Taryn Ferro

Avant Garde after a night of good drinking is a choice, especially for those who haven't even managed a coffee, but the prepared harp is a loveable instrument. Zeena's table is covered with electronic effects and machines. Ikue's table has her laptop and a few other gadgets. Up the back is a third table with weird objects on it and a gold statue. From the back of the balcony, it's hard to discern what it is, but it is hairy. One by one, the musicians go up to the third table and take an object and create sounds with it into a microphone, while an ambient loop plays in the background before returning to their primary instrument.

“Show me your dream.” A screen is revealed from behind the big curtains and a film starts with a bunch of weird marionettes and rainbows and strange saturated footage of dolls, disco balls, and material. The harp and electronics do complement each other. It's a strange and complicated little world these two are creating, but certainly unique.

Lonnie Holley at the Mill & Mine

Lonnie Holley. Photo by Eli Johnson

"We came here so that our ears can grow… God I love y'all, Let's geddit on!" Lonnie leads a set of improvised music and spontaneous lyrics and poetry with a huge ensemble of ten additional musicians. Is Shahzad Ismaily one of them? Of course he is!!

Lonnie is charismatic, guiding the slowly evolving jam with his deep crooning voice. It has a raspiness to it, gritty and authentic like Gil-Scott Heron. The musical accompaniment is patient and appropriate, with every musician respecting the space for the others. Nobody is too dominant and everyone gets a little space to flourish and embellish naturally. It's a great organic jam - warm, beautiful, and heartfelt. A total mood, and a perfectly curated artist for the last day of the fest.

Mary Lattimore at the Bijou Theatre

Mary Lattimore. Photo by Cora Wagoner

The Susan Alcorn Tribute was originally on my schedule, featuring Mary Halvorson among others, but in favor of brain protection and healing, I instead made the pivot to a relaxing harp. And what a fine decision that was too. Lattimore demonstrates the most exquisite use of a loop station so far, feeding her harp through it to create heavenly cycles of blissfully exquisite melodies. The harmonies of which gently fill the little theatre; it's the perfect Sunday comedown compliment. Her stage presence is so down to earth and friendly. She has a happy-go-lucky spirit and seems really happy to be here. She praises the festival "I've cried so many times [this weekend] just from the music.” And, like so many others this weekend, uses her platform to speak out against the system: “We need to take care of our most vulnerable people."

Lattimore also announced that she is so inspired to go home and write and make things. This further underlines how important it is that these festivals exist, giving so many artists the opportunity to come together to meet and positively influence each other. I can only imagine what wonderful things Lattimore might do.

The visual accompaniment of the flowers on the big screen is just the right medicine. She tells a cute, whimsical story about “waving at people on boats - it’s like, when you're on a boat and you see someone else on a boat and you just have this urge to wave at them.” Her energy is just gorgeous and so is her music. Just beautiful.

Knoxville Gospel Choir and the Dedicated Men of Zion at the Knoxville Civic Center 

 

 
Choir Soloists:

Evelyn Jack ("This Is the Day")

Hugh Dixson ("Grateful")

Keri Prigmore ("I Am God")

Michael Rodgers ("Mighty God/Outstanding")

Dedicated Men of Zion (Vocallists)
Anthony “Amp” Daniels
Antwan Daniels
Dexter Weaver
Marcus Sugg

If this jazz journalist is going to hell for missing the Susan Alcorn tribute then perhaps those sins could be atoned for by having opted for the Knoxville Gospel Choir and Dedicated Men of Zion performance. That's pronounced "Zay'N" or "ZIE-on" depending on what part of the South you are from. The Civic Center was only half full, so the sweet usher encouraged all patrons to go sit in the normally-reserved VIP area up front. "Now,” she announces happily in her adorable southern accent ”let's go to church!" The scene is set.

The Knoxville Gospel Choir led by Jeanie Turner Melton is proud to host around thirty talented singers of all different creeds and colors. The women’s diamante brooches glisten as they sway in time to the music. They wear black suits, a bold coloured top, and they all appear to be thrilled to perform. Their enthusiasm is palpable, and it's hard to resist clapping and even singing along, as some folks in the audience do. Soulful lead solos by Evelyn Jack, Hugh Dixson, and Michael Rodgers encouraged the happy vibe of joyful worship. The superstar of the night, however, was Keri Prigmore who dang near brought the house down channeling Whitney Houston for her incredible rendition of "I Am God." Why she was not headlining her own show is a mystery. Witnessing this chillingly precise and impassioned version had me wondering if perhaps I should start going to church. Granted there are few gospel choirs in southern Germany, but this chick has been truly blessed with a gift from God.

After a couple of choir-only songs the Dedicated Men of Zion come out in suits and sunglasses looking unbelievably cool. The soul in four-part harmony accompanied by their family band was totally infectious. During one magical moment, one of the singers repeatedly nailed an impossibly high falsetto note, complete with palms up to the sky and dramatic showmanship – for me, this epic display was a highlight of the entire festival.

Upon leaving the auditorium a security guard recognised me from the way in. He asked: “Hey! You feelin’ better?” Throwing my hands in the air I shouted: “I think I found Jesus!”

Far too early for me, but Big Ears also showed the Aretha Franklin film Amazing Grace, about the recording of said live album at a gospel church in Los Angeles in 1972. Friends who went to it reported it to be outstanding and claimed it would have perfectly complemented this performance.

Rufus Wainwright at the Knoxville Civic Center

 

Rufus Wainwright. Photo by Cora Wagoner

For a free-jazz website, it does feel a little odd to be reviewing a singer/songwriter, especially one who is musically uncomplicated. But from the moment I entered the Knoxville Civic Center a few minutes late through the center aise, I was greeted by the apparition of a male angel on guitar in the distance. A single beam of light, spotlighting him in an auditorium bulging with presence, and a voice that simply soared. This image will stay with me for life, as it was so unexpected and so beautiful. What followed was probably standard practice for Rufus, commanding the stage and winning over hearts with adorably flamboyant charisma and fun stage banter. For a new song, he described how his recent London stage show had tanked so badly he wrote a song about it. "Here's a song about suicide!" he jovially quipped. The dark humor was a hit and the audience laughed. Maybe it's projection, but it seemed there was hardly a dry eye in the house after the line "Can I cry myself awake yet?" Similarly, and probably even more poignantly, Rufus sang an old song of his entitled "Going to a Town," the lyrics of which, although fifteen years old by now, ring more true today than when they were penned: "I'm going to a place that has already been burned down, I'm so tired of America." Then adding the spoken adlib, "No fucking shit," which drew further laughter and cheers from the audience.

There is so much beauty in the confident simplicity and technical brilliance of Rufus's voice. Recorded versions simply do not do him justice. He must be experienced live. Highly recommended for lovers of passionate, heartfelt pop songs on guitar and piano, a la the Beatles.

Just a few days after the festival, news was released that 83 year old guitarist Michael Hurley had suddenly passed away. His performances at Big Ears would have most likely been his last. It’s becoming something of a recurring theme; that Big Ears is not only a celebration of life, but also a place where musicians and music lovers gather and pay tribute to their fallen friends. In this regard, and so many others, this is so much more than "just a festival." It’s a spiritual pilgrimage. And one that I dearly hope I will be able to make, over and over again in the years to come. 

 

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Read: Part 1 | Part 2 | Part 3 | Part 4