Big Ears Festival Day 4, Sunday, 3/29/2026

By Sarah “Flake” Grosser and Richard Blute(*)

Julian Lage Quartet
Tennessee Theatre

Julian Lage has a couple of mighty fine carpets on stage. The whole layout is a rather big setup for a four-piece with John Medeski surrounded by organ and piano. There's barely a spare seat in this auditorium, which is to be expected for Lage, who is not only a superstar in terms of popularity, he is also probably the most technically gifted guitarist in the scene. Let's face it.

What more can really be said about his tone, dynamic control, and speed? Beyond which, his sentimental sensitivity and radical softness simply can't be emulated. This set is quite ballad heavy, with a strong focus on his latest album Scenes from Above. He's always got that kind of surprised expression on his face, like he is personally delighted at his own abilities, and there's nowhere or no one else he'd rather be. And fair enough – the world is a better place because Julian plays guitar.

On one song, Medeski pulls out an organ solo that might have been my favorite solo of the weekend - tough to pick! Drummer Kenny Wollesen and bassist Jorge Roeder complete this quartet. There's so much talent on this stage, it's hard to decide who to watch. Many fans opt to simply close their eyes and let their combined brilliance wash over them.

As an amusing aside, later in the day Greg and I went for some lunch at the Tomato Head restaurant in town which coincidentally happened to be the same lunch-place of choice for Julian, Jorge, and a few friends. We did not engage, as they had taken a spot up the back and were just enjoying lunch in peace. All of a sudden Julian’s song “Opal” began playing gently over the sound system. Nobody working in the restaurant seemed to have made the association and recognised them, but Greg and I couldn’t help but glance over to try and catch the reaction of the band. As suspected, there were bashful smiles and eye-rolls all around. Too funny! File that one under “only at Big Ears.”

Brian Marsella’s iMAGiNARiUM
Tennessee Theatre

Brian has it all - all the genres, all the musicians, all the lights! He is in his element at the helm, and with his funny goggles on his hat, we know we are in for a good time. iMAGiNARiUM doesn't take itself too seriously or try to push any agenda. It's got a nostalgic Zappa-esque cartoonishness both visually and sonically - maybe this is most characteristic in the xylophone, today played by Sae Hashimoto, sounding very reminiscent of Ruth Underwood from the Mothers of Invention. The big band is nice, but it's the individual solos that really shine here. Big moments for flute (Itai Kriss), sax, guitar (John Lee), and violin.

The songs weave through various passages, some sparsely instrumented, some with the full ensemble. Of course there are a few manic piano runs that Brian effortlessly whips off. All the while conducting the ensemble while switching between piano and multiple keyboards, synths, and apparently even a toy piano.

Some of the songs were accompanied by visuals. The more steam-punk animations meshed neatly with the whole aesthetic, while the abstract color and light visualizations just floated by like a dream.

 

Patrick Shiroishi. Photo by Billie Wheeler

Patrick Shiroishi(*)
The Blackbox

One of the highlights of this year’s festival was Patrick Shiroishi’s stunning solo performance. He was performing music from his 2025 album Forgetting Is Violent and was accompanied by video. His standing on the stage alone seemed so appropriate for this music as the theme of the album, and much of Shiroishi’s music, is racism and how it separates us from each other.

But in his performance, Shiroishi is reaching out to offer his hand and try to get past the hatred.

While the video presentation was touching, I also found myself marveling at Shiroishi’s skills as a saxophonist. He played fluid, serpentine lines in the style of Evan Parker, but also very much his own.

There was a haunting quality to his playing. He uses electronic techniques to extend the sound of his saxophone and so much of the music he played felt like a lone voice reaching out from the past. His playing was matched by the visuals that were flashing behind him. They were grainy black and white videos which seemed like a memory the viewer was trying to find.

 

Nels Cline: Lovers. Photo by Cora Wagoner

Nels Cline: Lovers
Tennessee Theatre

On a day of the massive ensembles, Nels is up there with the biggest- nineteen musicians and the fabulously sassy Michael Leonhart conducting. The ballads are super soft- a tip of the chapeau to the festival programmers once again for their inspired gentle Sunday programming. The wafty string section lulls and sways as Nels, upfront in his new red shirt, works his understated guitar magic.

Ever humble, Nels quietly addressed the enormous room: "I’m trying to act like this is a normal event for me." Later on, Nels announced, "We're gonna continue with a song on the setlist that I cannot see. I guess I should have my own copy."

The ensemble patiently worked its way through cuts from the critically acclaimed 2016 album Lovers featuring tracks “Secret Love,” “Cry, Want,” and “Glad to Be Unhappy.” Where the album featured appearances from Nels's wife Yuka Honda, Steve Bernstein, Julian Lage, Erik Friedlander, Kenny Wollesen, and many more, today Nels was joined by Michael Leonhart and the Knoxville Jazz Orchestra.

Our experience in Nels’ world of soft experimentations and ballads was only short lived, as we needed to high-tail it outta there in order to catch my companion’s big wish for the final day – Matt Mitchell’s Zealous Angles.

 

Matt Mitchell’s Zealous Angles

Matt Mitchell’s Zealous Angles
Regas Square

There's no questioning the talent in Matt's incredible quartet. Chris Tordini (bass), Dan Weiss (drums), and Miles Okazaki (guitar) can certainly keep up with his sporadic, spontaneous-sounding compositions. But it has to be said, the visuals are almost stealing the show. They are flashing hard with at least four live cameras on the musicians- very atypical for a jazz show, but certainly a lot of fun. I never knew I needed the slow-motion blending of a delayed Miles Okazaki fading into a rainbow until this very moment.

The playing is absurdly tight, many of the pieces are sparse, with Dan bringing impressively intricate rhythms. Miles gets deep on a crisp guitar solo for the elite who can still handle this level of intellectualism after four days. In so few words, it’s just a really impressive group.

Greg Saunier: “Who’s doing it like this? Relentless refusal to play in a key or a rational rhythm. Refusal to play above mezzo piano. So beautiful plus the [other] funniest drummer on the planet, Dan Weiss.”

 

JACK Quartet

JACK Quartet Plays John Luther Adams
St. John's Cathedral

Normally when I write my reviews I write them in person, on location, in full sentences, in the moment. For JACK quartet’s rendition of two John Luther Adams suites, this was an impossibility for me.

Mere seconds after Austin Wulliman delivered his introduction of the suite The Wind in High Places, I felt something stir inside of me, rendering me completely unable to write. The sound of the quartet emulating the wind, via the natural harmonics of the strings, and without pressing them down, was quite possibly the most beautiful sound I had ever heard in my life, and the piece had only just begun.

I am tearing up even now as I write this, remembering the relentless beauty of the sound, the setting of the cathedral, the acoustics, the overtones… I remember the feeling of complete and utter surrender to the performance – not a single thought in my head, and with eyes closed the feeling of just allowing the tears to cascade down my cheeks, in waves. The well-trained audience remained obediently quiet between pieces, not once breaking the spell. After some time, I finally opened my eyes to the realisation that my entire face was dripping onto my clothes. So lost in the moment was I, completely unaware of what a wet mess I had become, entranced by this unforgettable performance.

I feel that words won’t do justice to the music, other than to describe the pieces as two very minimal suites, that while deceptively simple in concept, can only be executed by four masters of the craft. The second suite Lines Made by Walking was equally as breathtaking and cathartic.

Absolute perfection, and one of the most stunning, and memorable musical performances I have ever witnessed.

What a finale.

*** 

Read: Day 1 | Day 2 | Day 3 | Day 4