Moers Lets Down its Hair (Moers Festival 2026)

By Paul Acquaro

Once upon a time, in a land where melodies did not necessarily neatly resolve, there lived a jazz festival known far and wide. Its name traveled on the wind, whispered across oceans, appearing on record sleeves on shelves from Frankfurt to Philadelphia. Many a listener kept treasured vinyl marked with its crest—perhaps a spellbinding Evan Parker incantation, or a tale spun by John Carter.

 

But one day, as festivals sometimes do when the moon hangs just right, this venerable gathering felt a stirring—a curious, mischievous idea fluttering at its edges. It wondered what might happen if it dared to dream a little differently…

 

Having spread its wings and expanded its scope, the Moers festival has grown from its avant-garde roots into something much larger. Weaving in modern jazz, new music, poetry, political discourse and more, the theme this year was fairy tales, which the printed program whimsically presented in its surreal prose and thematic illustrations, a densely packed long holiday weekend. The festival unfurled through the old city of Moers — the castle courtyard, the main parking lot and the city park — offering lots to discover and more than one way to enjoy the festivities.

 

To some, it might have seemed chaotic. To others, perhaps a city festival with lots of food trucks and stands to buy hippie-jewelry and dashikis. And to yet others, it was a rich, off-beat intersection of musical styles, offering unexpected encounters and discoveries. None of these categories are mutually exclusive, so one could also mix and match, being equally bewitched, bothered and bewildered.

 

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Moon over the Moers Castle with Rapunzel's escape plan in view

In a cute nod to the fairy tale theme, Rapunzel's long hair hung from the castle's tower, and to its left was the entrance to the courtyard. This was where the festival had begun, 54 years ago, inside the castle walls, before it first moved into the city park and then further out to the city's recreation fields. Today, sitting in the blazing sun of the bright blue late afternoon was drummer Chris Corsano's drum kit, and if you hadn't arrived a half-hour (or more) early, there was not chance to get a shady spot. 

Chris Corsano

Corsano began by blowing into a clarinet mouthpiece that vibrated a drum head. He proceeded into the half-hour set that was both rhythmic and melodic, as far as melody goes on the drums. It was a thoroughly engaging improvisation, drawing the listener in close.

  

Outside the castle, a mere stones throw away, across the packed market place, was the main stage, where trumpeter and composer Nate Wooley, along with the new music group Yarn/Wire (pianists Laura Barger and Julia Den Boer, and percussionists Russell Greenberg and Dustin Donahue) and vocalist Tara Khozein were set to play. Here, the erudite trumpeter was presenting a newly commissioned piece that mixed narrative with modern classical. Long, dramatic passages brought together Scottish author Nan Shepard's mystical stories to the stage and quiet interactions between the musicians provided a charged atmosphere. The two grand pianos framed the music with light, dissonant chords while Wooley's tender passages were adorned with soft whispers and audible breaths. Mostly melancholic, the piece was punctuated by intense crescendoing passages. A brainy set, for sure.

 

Skylar Tang and Luis Lopes

Ready for a little more free improvisation, the Moers Sessions were calling. So, back through the market and past Rapunzel's locks, to "Wo die wilden Frösche klatschen" (Translation: Where the Wild Frogs Clap) stage area, nestled in a tree-lined grove in the park. Curated by saxophonist Jan Klare, various sessions throughout the festival brought together musicians appearing elsewhere at the festival in new formations and an improvised setting. This evening began with saxophonist Mia Dyberg in dialog with pianist William Schwartzman and drummer Jonathan Schierhorn. Melodic and probing, the tentative trio locked into a groove about half-way into their set, bringing the listeners along an explorative journey. Next up was the assemblage of bassist John Murray, trumpeter Skylar Tang, drummer Sofia Borges, pianist Rieko Okuda and guitarist Luis Lopes. The group seemed split, while Lopes, Borges and Okuda seemed comfortable skirting around an identifiable tonal center, Tang sounded a bit resistant to let it go. The audience did not seem to mind, Lopes' clashing guitar and Tang's attempt at tonalism generated ample, enthusiastic applause.

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In the Zwergengasse

The city of Moers itself is an eclectic mix of sights. At the intersection of the aforementioned lush city park and old town, featuring the city's castle (or what remains of it), there is a collection of historic churches and buildings, one of which is a picturesque 18th century neo-Renaissance "Altes Landratsamt" (which translates to the rather uninspiring: Old County Administration Building). Then, if one wanders a little further, into the Fussgaengerzone (pedestrian zone), they will pass the old city mansion, the Peschkenhaus (which we'll come back to later) and then just a bit further, the sweetly curious Zwergengasse (The delightfully translated: Dwarves Alley). The latter is a narrow, colorful alley way featuring a house dating from the 1920's adorned with charming carvings - worth a trip if you happen to already be in town.

 

Ches Smith

Back to the festival: Saturday's adventure begins again at the castle courtyard, this time for percussionist Ches Smith's solo set. It starts with a crash, Smith going at his drum kit full throttle. Flanked by glockenspiel and timpani drums, it was obviously just the opening salvo. The chimes soon came into focus, stark in contrast to the drumming but one could still sense more was still to come! The action then shifted towards the timpani, and playing with expanding and contracting tension, Smith pulled unusual sounds from the instruments around him. At times exploratory and other times hard hitting, the set was another early highlight of the festival.

 

Returning to the full courtyard after a little wander around the festival grounds to find some dinner, it was time for some high-energy music. After a quick count-off and delivering the head of the first tune, saxophonist Angelica Neiscer was deep into a scorching solo. Her counterparts, cellist Tomeka Reid and drummer Eliza Salem were in cahoots as the cellist played a vibrant bass line and the drummer provided a propulsive tempo. It was a classic piano-less jazz trio, energetic, and though not free-jazz per-se, there was generous freedom within the charts. Case in point: Reid's freak-out solo during the second piece that threw anything written into the metaphorical wind (a little real wind would have been nice, it was hot!).

 

Bonbon Flamme

An exquisite chaos was already underway on the main stage as Bonbon Flamme's mash-up of cabaret, half-remembered melodies from a black-out night, old-time jazz riffs and skronk guitar filled the air. The audience was enrapt as Cellist Valentin Ceccaldi, keyboardist Fulco Ottervanger, drummer Etienne Ziemniak and guitarist Luis Lopes achieved a new level of musical abandon. As a French chanson segued into prog rock via a wheezy pipe-organ, the cello played a bass-line that triggered an explosive solo from Lopes. As they played, the keyboardist could be seen leaping acrobatically between his many instruments and all of the action on stage was being projected to a giant iPhone screen hanging from a crane to the back left of the audience area. It was a colossal structure with a mix of live and pre-recorded videos playing throughout the performances.

 

 

Evi Fillipou's "inEvitable"

Every year at the festival there is an artist-in-residence and this year it was vibraphonist Evi Fillipou, who for the festival assembled an extended version of her ongoing "inEvitable" project. In addition to the ineffable Fillipou on vibes, percussion and singing, this was singer Zuza Jasinska, guitarists Keisuke Matsuno and Arne Braun, bassist Robert Lucaciu, drummers Marius Wankel and Jim Hart, and saxophonist Daniel Glatzel. They kicked off the set with a strikingly rhythmic piece, accentuated with rave-up vocals and crashing waves of percussion, perhaps better said, they projected a party vibe. Drawing from a panapoly of musical styles, the music shifted from lithe scatting in Greek to smokey vocal jazz to heavy rock grooves. In addition to the prominent percussion, Matsuno and Braun's guitar work brought a wide sonic palette to the stage, painting a soundscape with distorted smears and blistering jabs. High octane, tight and effervescent, it was a show surely worthy of the artist-in-residence title.

 

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In the city park are a thousand baby bunnies. Every 20 minute walk from the hotel to the festival grounds along the creek and fields was a stroll through a menagerie of cuteness accompanied by a symphony of frogs, kind of a fairy-tale ready experience itself.

 

Evi Fillipou, Tomeka Reid, Luis Lopes, Angelia Niescier.  Photo by Dennis Hoeren 

Mid-morning Sunday in the castle courtyard, the next Moers Session was starting - this time, three sets. The first grouping was Evi Fillipou fresh off the previous night's success, along with Angelika Niescier, Luis Lopes and Tomeka Reid. Niescier started things off with a free-jazz blast from her saxophone, which was followed by some hovering tones from Fillipous' vibraphone. Angular jabs from Lopes' guitar and low-register strikes from Reid's cello responded in kind. It was a strong 25-minute warm up, and though short, it was unrushed, unfolding with collective purpose. The next grouping was comprised of Jonathan Schierhorn on drums, Sophie Cooper on trombone, Bella Comsom on electronics and Hyunjeong Park on gayageum. Their set began with a gentle thrum of electronics supporting the deep, round tones of the gayageum, a Korean zither. Then, following the entry of the drums and trombone, the group gelled expressively. The final set featured session organizer Jan Klare on sax, Fulco Ottervanger on keyboards, Florence Christman on electronics and Bruna Cabral on drums. Klare set the direction: a series of syncopated lines augmented by Cabral's percussion. Then came an underlying buzz from the electronics while a dark organ sound welled from the keyboards. The set soon took gathered momentum as the sax, drums and keys locked into a flowing, effusive groove. Extroverted Ottervanger injected some gentle humor into the set, dueting with Klare on a harmonium at one point and adding a sci-fi synthesizer interlude. 

 

The morning stretched out into the afternoon, lunches were eaten, music absorbed, and acquaintances old and new encountered. Then, under the late afternoon sun, the Dwarves of East Aguza took the main stage. The crowd was slowly filtering in as they began a steady brooding groove. Guitarist Sam Shalabi played a mix of rhythm and brittle, agitated melodic phrases. A beguiling mix of primitivism and middle eastern flair, it locked in with Maurice Louca's electronic pulsations perfectly. At this point, Alan Bishop's guitar merged sonically with the electronics. He soon switched to saxophone and over the mutating oscillations, he smeared notes and phrases across the musical canvas. Through the mix of exotic rhythms and droning tones, the music flowed hypnotically.

 

Between the Dwarves and the next set, a volunteer 'moersfriends' tried asking for donations from the main stage, however his pitch was drowned out by a relentless noise. Throughout the festival, from the sound system surrounding the stage, recordings of different Trump speeches played simultaneously. It was the Bösewicht (German for villain) that the hero of every fairly tale encounters. All part and parcel of the theme, it was a clever but rather disturbing reminder of the raging real world. As the break continued, paper crowns decorated by local school children were handed out to the audience so everyone could be king (or queen) for one day.

 

Nicole Mitchell’s Black Earth SWAY

Nicole Mitchell’s Black Earth SWAY offered a diversion. The group with Mitchell on flute and vocals, Coco Elysses on didley bow and vocals, JoVia Armstrong on percussion and vocals, and Zahili Gonzalez Zamora on keys (everyone also had a touch of electronics) had been formed around the concept of Afro-Folk-Futurism and their first song strove to build a confessional intimacy with the audience. Spoken words about neurodivergence were augmented by thrilling flute work and driving percussion. The group's second song already offered a sing-along part, bringing the crowd and band even closer together.

 

As the late afternoon slid slowly into dusk, it was almost time for the "Secret Concert". Migrating through the city park, past the frolicking baby bunnies and croaking frogs, early ticket buyers and other Moers friends made their way to the event hall in the recreation area, where the previous year's main concerts had been staged. There, a group conceived by Nate Wooley with percussionists Chris Corsano and Ches Smith as an 'anything goes' improvising trio, were set to perform.

 

Ches Smith, Nate Wooley, Chris Corsano. Photo by Dennis Hoeren

Wooley was welcomed to the stage by the crowd singing a happy birthday tune, but was eager go get into the set. His opening electronic tones set an atmospheric buzz. The two drummers then added an extra charge of energy. Smith soon activated his own electronics, bringing the opening fanfare to an early peak. A new tune began to then emerge, a gentle, folksy melody from the trumpet supported by percussion from Corsano. As the intensity increased, Wooley used his trumpet to create the sounds of gale winds as Corsano added the wail of whales though his own inventive, acoustic means. It was an expressive and impressive set, a real aural treat.

 

Gellért Szabó's Ideal Orchestra

On the trip back to the main festival grounds, the sun had set, and as a stillness covered the lush park, the frogs were in full song. At the main stage, the evening was wrapping up with Gellért Szabó's Ideal Orchestra, a large ensemble out of Leipzig who were performing the final installment of a piece developed as a three part fairy-tale (the other parts had been performed on the previous days). Combining improvisation, jazz, classical, a choir, and the multimedia of the giant iPhone screen, the sonically dramatic final installment brought contrasting passages of calm and turbulence with an intentional and slightly tongue-in-cheek holiness to the stage. An informal survey revealed it to be an unexpected highlight for many of the concert goers.

 

As the evening bled into the night, throughout the festival grounds and nearby churches, a tribute to 20th-century avant-garde composer Morton Feldman was just starting up. Stretching into the late evening hours, the festival commemorated the composer's 100th birthday with several performances of his well-known works, such as "Rothko Chapel" and "Melancholie des Verschwindens." A gentle coda to the day.

 

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The final day of the festival began with a crushing line at the Peschkenhaus. A hot sun made the line to get in and the performance space a stifling experience. Why the wait? In the attic room of the stately 18th century manor, now a meeting space and art gallery, guitarist/oudist Gordon Grdina was set to perform with drummer Christian Lillinger and keyboardist Elias Stemeseder.

Christian Lillinger, Gordon Grdina, Elias Stemeseder

Grdina began the show on a well work electro-acoustic guitar along with taps and thwaks from Lillinger, and blips and bloops from Stemeseder. This was merely an intro to a very rhythmic improvisation that snow-balled as the textural guitar work and burbling synthesizer, pushed along by the precise percussive jabs, found their footing. For a heart-pounding ten minutes, the group pressed at full speed until a break in the tension, during which Grdina switched to the oud. The large stringed instrument projected a thumping bass sound, setting the group off in a fresh new direction. The set ended with Lillinger and Stemeseder both navigating the deep space of electronics. 

 

Sam Shalabi

A compelling solo guitar set from Sam Shalabi followed. Exploring the instrument through arpeggiated, microtonal blocks of sound and lite distortion, the Dwarves of East Aguza guitarist conjured images of specious desert landscapes with wisps of dry wind blowing swirls of sand. The notes themselves seemed less important than the mood they set. 

 

Drifting out into the heat of the early afternoon, the shady Wo die wilden Frösche klatschen stage was the next destination to catch the end of percussionist/composer Bex Burch's set. Angelika Niescier was wrapping up another fiery solo as the group segued into a gentle, unfolding piece with the band acting mainly as a choir. Long minimal interludes led to moments of feverish saxophone and, for a brief moment, it felt good to let a little time slip by in the afternoon humidity.

 

Knobil

Swiss bassist and singer Knobil was another fine discovery of the festival. A mix of singer-songwriter and a swinging free improvisation, Louise Knobil, along with the engrossing bass clarinet work of Chloé Marsigny and drumming of Vincent Andreae, played a compelling set on the main stage. Between sweet banter and wonderfully syncopated melodic songs, Knobil was a welcome late afternoon refresher.

Gordon Grdina's RU'YA

In the early evening, Gordon Grdina's RU'YA, his headlining project, took the stage. With Grdina on guitar and oud, the group featured vocalist Ghalia Benali, violinist Eylem Basaldi, keyboardist Elias Stemeseder, percussionist Hamin Honari and drummer Christian Lillinger. The group's project had begun as a commission for Berlin's Boulez Saal, a center for contemporary classical and Middle Eastern music, and seems to have taken on a life of its own. A mix of passionate, evocative music, the lyrics in Arabic expressed messages of family, loss, hope and peace against a backdrop of Arabic and Western instrumentation. The insistence of Lillinger's drumming, the deep vibrations of Grdina's oud and the intense rhythmic playing from Honari, along with the vibrant violin and keyboards made for lively, urgent music. An exciting and engaging show.

 

As the closing act for the festival, saxophonist Lakecia Benjamin brought a spirited energy that fit well into the overall eclectic-ness of the program. Her act, with a strong mix of showmanship and musicianship, can and did transcend audiences. 

 

Lakecia Benjamin

Decked out in a stylish, shiny outfit, fully in command of the stage and audience, and backed by the top-notch playing of pianist Oscar Perez, bassist Elias Bailey and drummer Dorian Phelps, her approach is one that can both satisfy many of the jazz-purists and engage far more of the jazz-curious. One could complain, for example, that her take on John Coltrane's 'My Favorite Things' hit the high-notes too soon, but then again, it also sounded great - festival audience approved - and she even threw the deep listeners a bone by quoting 'Giant Steps' at a breakneck tempo. Perez's piano work complimented the saxophonist's energy as he led the group with a spiritual tune before they ended with some high-energy funk. 

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And just like that, the festival dissolved into the night: a long week end of music, more than 2,000 tickets sold, and some estimated 20,000 curious souls wandering through the free concerts and market place, taking in whatever caught their eyes and ears. And they all lived happily ever after ....