Plague descends and a new approach is required, so TUSK Festival 2020 becomes TUSK Virtual 2020 – 14 days and over 150 hours of output, reaching over 12,000 unique viewers internationally – the dawn of a new era?
TUSK Editions #3 lands on June 4 and is available for pre-order now. Another amazing exclusive 2 hours or so of new music including an intense recording of The Rolling Calf live at TUSK 2019, A Tyke In Tusks – the album of responses to the wonderful voice of poet Ian McMillan including Bren’t Lewiis Ensemble, Claire Rousay, Charmaine Lee and more, and a wonderful mix of contemporary music from the Arabic speaking world by Christina Hazboun.
Plus Stewart Smith’s extensive interview with Neil Charles, Elaine Mitchener and Jason Yarde of The Rolling Calf, Marc Teare on how his love of Gnawa music drove him to start the Hive Mind label, and much more.
TUSK Editions is available to buy for £10 here
And in this world of shifting sands and unpredictable tides, we invite our audience to become TUSK Members. From as little at £7 monthly, supporters will receive the monthly TUSK Editions direct to their inbox along with other occasional treats and freebies.
And we returned on Friday 4 June with another eye-watering line-up – presented by Radio 3’s Corey Mwamba and showcasing our new releases this month – the blistering set by The Rolling Calf at TUSK 2019 and A Tyke In Tusks, the album of poet Ian McMillan’s wonderful sonorous voice responded to by Bren’t Lewiis Ensemble, Claire Rousay, Charmaine Lee and more, PLUS performances from Ashley Paul, Ibaaku, Sourdure, Keiji Haino/Oren Ambarchi/Jim O’Rourke, Houssam Gania and Sheng Jie, an exclusive mix from Christina Hazboun and a great film of a performance in a Bahranian quarry involving Rabih Beaini and others. Filled to the gills with amazing music, we’re excited about this one!
Unprecedented times, eh? Music and how it, its creators and presenters work is, like everyone else, adapting to unprecedented challenges. So we’re launching TUSK TV, TUSK Editions and we’re launching our first Membership scheme.
This is our response to the Covid/Brexit double-headed hydra. This is how we hope to survive it.
In this world of shifting sands and unpredictable tides, we invite our audience to become TUSK members. From as little at £7 monthly, supporters will receive the monthly TUSK Editions direct to their inbox and other occasional treats and freebies.
Please sign up here and from April 2 you will receive the monthly issues of TUSK Editions and help us to keep doing what we do – www.patreon.com/TUSKmusic
Huge thanks to our sponsors who made this first month of TUSK TV and TUSK Editions possible.
If you’d like to sponsor our work, please contact Lee at firstname.lastname@example.org
Another seismic progression for TUSK Festival in 2019 – two Hall One shows (Moor Mother X LCO and Magma), a real feeling that Sage is now home and that TUSK takes it over for the weekend, cult figures Jandek and The Necks, a weekend of amazing human voices (The Rolling Calf, Audrey Chen, Sonic Bothy, Grupi Lab), our film programme and TUSK Fringe continuing to bloom wildly, more strings (with Mariam Rezaei&Lasse Marhaug), more participatory performance (Farmer Glitch with students from Sage), our first collaboration with London Contemporary Orchestra, a Lasse Marhaug projected exhibition, the Harry Bertoia installation, Abul Mogard stepping in at the last minute as Eleh sadly had to cancel, and a real buzz reverberating through the whole building all weekend. Number 9…
TUSK in 2018 took some notable steps towards a more expansive festival experience, slowly spreading our tendrils through the whole wonderful Sage building for our 3rd edition there. So we had minimal master Terry Riley and his son Gyan in the hallowed Hall One, the room suitably warmed by Bradford’s great Hameed Brothers, and Lea Bertucci’s earthquaking multi-speaker bass piece all over the concourse, with the main programme switching between Hall 2 and Northern Rock Foundation Hall. And so many great highlights to the weekend – Otomo Yoshihide playing turntables and guitar like only he can, Robert Ridley-Shackleton splitting our sides, Sarah Davachi seeming to cause the earth to pause in its rotation, and a whole shedload more magic. We tried to subtly step things up a bit this year and it felt like it worked, which is nice..
Year 2 at Sage and it feels like we’ve made it our home now. Brainbombs’ first UK show and Nurse With Wound grabbed the headlines and we had Klein, Beatrice Dillon, Staraya Derevnya, Hans Grusel’s Krankenkabinet, Duncan Harrison and much more, including the implosion of Midwich and a transcendent performance from United Bible Studies. The Old Police House had its final blowout, CIRCA Projects opened the weekend with Festival Is Sudden at Shipley Art Gallery and we produced the Club Ponderosa exhibition in collaboration with Workplace Gallery.
For the first time we re-locate to the South banks of the Tyne and Sage Gateshead. A solid bill featuring artists from Mexico, Argentina, Indonesia, Japan, Germany and elsewhere. Rubber O Cement confound, Los Siquicos Litoraleños bewilder, Fovea Hex charm, Ashtray Navigations amaze, Guttersnipe tear beautiful holes in our faces and Senyawa are beyond description. Cast iron programming at Sage (also featuring Wolfgang Voigt accompanied by Rachel Lancaster’s visuals, VA AA LR’s roaming electrical performance, Sam Grant’s Prime Rhythm’s installation and Matching Head and Sir Richard Bishop exhibitions and much more) is matched by a wealth of action at the growing TUSK Fringe, with major blowouts at both the Soundroom and the Old Police House.