Dear BRDCST visitor,

BRDCST absolutely hates musical algorithms and that’s why the goal is musical boundlessness at many levels. So the festival sates itself on contemporary Turkish psychedelica, (abstract) noise, contemporary classical, hip-hop, black metal, afrofuturism, cutting-edge electronica, sound poetry, (avant) jazz, Arabic sounds, dub, American primitive guitar, (post) punk, prepared piano, grime and even flamenco. We challenge you: just try to find this kind of exciting musical richness in an automatically generated playlist.

BRDCST intentionally mixes all these genres. More so, BRDCST pays extra attention to artists whose musical DNA already has them removing hurdles. A textbook example of that is saxophonist Shabaka Hutchings, one of the trendsetters of The New Wave Of Jazz. He fully honours the legacy of jazz, but experiments with electronic synth-grooves in The Comet Is Coming or can also be heard on ‘Black Noise 2084’ (by Italian beatmeister Khalab). Shabaka in turn praises Alabaster DePlume, who effortlessly combines jazz and poetry. Or what about Bliss Signal who merge black metal, electronica and grime? Or Björk-favourite K Á R Y Y N, who allows her Syrian roots to seep through in her crackling electronica?

What’s more, BRDCST welcomes musicians from countries like Egypt, Turkey, Syria, Israel, Italy or Spain. Artists that you don’t see turn up at regular festivals much because they fall outside the Angelo-Saxon model. In times when the political call to close borders is only increasing, it is exactly these artists who often surprise us. Think: Israeli Yonatan Gat who fled his homeland because he was banned from playing there with his garage rock band Monotonix. From out of his current base of operations, in New York, he presents work that combines punk, psych, free jazz and avant garde. A musical wealth that is typical of world citizens.

For that matter, BRDCST is genetically predisposed to smashing musical preconceptions to smithereens too. Preconceptions that we often catch ourselves having but would love to undermine. So we asked Egypt’s Nadah El Shazly to curate an evening.  That has resulted in an unexpected dive into Cairo’s musical underground, one that bears the aroma of surprising contemporary Arabic music, jazz, noise, hip-hop, psychedelica and experimental electronica.

BRDCST steps even further beyond the bounds of its own AB building and spreads its wings out over various extra locations around the inner city. This way our musical free port becomes even larger. 

BRDCST certainly welcomes you to this utopian society. Want to bet that it’s great to hang out there?

Kurt Overbergh
Artistic Director (AB)