Gongfest 2025 – Shabaka & Etceteral
Etceteral Opens the Night
The weather on Thursday night at GONGFEST 2025 was unpredictable, but that did little to dampen the energy as Slovenian AV electronic jazz trio Etceteral opened the evening. Performing material from their forthcoming album Kimatika (due September 5, 2025, on Glitterbeat Records), the trio—Boštjan Simon (saxophone, electronics), Marek Fakuč (drums), and Lina Rica (visuals)—delivered a dynamic, polyrhythmic set with a futuristic edge.
Etceteral’s sound is a distinctive blend of abstract modular synth textures, hypnotic drumming, and crystal-clear production, all supported by immersive visuals that enhance rather than overshadow the performance. Simon’s baritone saxophone weaved seamlessly with electronic beats, employing live effects manipulated in real time, creating a dialogue with Fakuč’s drums that kept the improvisation vibrant. Polyrhythmic phrases and subtle electronic undertones drove the set, prompting a few audience members to dance despite intermittent showers. The visuals, carefully synchronized with the music, complemented the performance without pulling focus from the trio’s nuanced interplay. The only drawback was the open-air venue itself; a roof over the new amphitheater in Nova Gorica would mitigate the always-unpredictable lottery of weather in outdoor concerts.
Shabaka Hutchings Takes the Stage
After a short break, Shabaka Hutchings took the stage for an intimate solo performance that boldly redefined the evening’s energy. Hutchings, the visionary multi-instrumentalist behind Sons of Kemet, The Comet Is Coming, and Shabaka and the Ancestors, has recently shifted his focus from saxophone to flutes, including shakuhachi and quena. His debut solo album, Perceive Its Beauty, Acknowledge Its Grace (Impulse!, 2024), documents this transformation, pairing him with collaborators such as Esperanza Spalding and Carlos Niño.
He opened with a Mayan temple flute, immediately embracing free improvisation over traditional song forms, inviting the audience into his artistic universe. The flute’s melodies floated above pedal tones, producing a fresh, hypnotic soundscape. Hutchings’ mastery of nuance and percussive effects was evident, a testament to his rigorous study since leaving the saxophone nearly a year and a half ago. He explained that his creative approach comes from exploring instruments beyond their intended use, allowing the flutes themselves to inspire new musical possibilities.
A Journey Through Sound
Switching to a wooden flute that echoed the timbre of a monophonic synth, Hutchings wove a journey of sound that was both meditative and intricate. Loops and background layers became canvases for live improvisation, with real-time pitch and tempo manipulation shaping evolving textures. Even when a playback mishap threatened to derail a section, Hutchings embraced the disruption, explaining his philosophy on live creativity before seamlessly continuing.
The emotional core of the evening came in a piece he had developed over the past year, reflecting on global crises in Palestine and Sudan. Without words, the music conveyed profound empathy and urgency, underscoring Hutchings’ ability to communicate deeply through sound alone. Later pieces incorporated African-inspired rhythms and even rapped sections, combining musical and social commentary in a uniquely personal voice. The concert concluded with a bamboo flute crafted for him by Joel Ecktor, leaving the audience enveloped in lush, meditative tones.
A Bold Statement in Contemporary Jazz
Shabaka Hutchings’ solo performance revealed a fearless artist willing to take risks, guiding the Nova Gorica audience through an immersive journey of textures, rhythms, and emotional landscapes. Coupled with Etceteral’s electrifying AV set, Thursday’s second night at GONGFEST 2025 was a bold statement in contemporary jazz—forward-thinking, experimental, and deeply resonant.
