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<\/a><\/strong> opened the evening. Performing material from their forthcoming album Kimatika<\/a><\/em> (due September 5, 2025, on Glitterbeat Records), the trio\u2014Bo\u0161tjan Simon<\/strong> (saxophone, electronics), Marek Faku\u010d<\/strong> (drums), and Lina Rica<\/strong> (visuals)\u2014delivered a dynamic, polyrhythmic set with a futuristic edge.<\/p>\n\n\n\n <\/p>\n\n\n\n Etceteral\u2019s 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\u2019s baritone saxophone weaved seamlessly with electronic beats, employing live effects manipulated in real time, creating a dialogue with Faku\u010d\u2019s 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\u2019s 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.<\/p>\n\n\n After a short break, Shabaka Hutchings<\/a><\/strong> took the stage for an intimate solo performance that boldly redefined the evening\u2019s energy. Hutchings, the visionary multi-instrumentalist behind Sons of Kemet<\/strong>, The Comet Is Coming<\/strong>, and Shabaka and the Ancestors<\/strong>, has recently shifted his focus from saxophone to flutes, including shakuhachi and quena. His debut solo album, Perceive Its Beauty, Acknowledge Its Grace<\/em><\/a> (Impulse!, 2024), documents this transformation, pairing him with collaborators such as Esperanza Spalding<\/strong> and Carlos Ni\u00f1o<\/strong>.<\/p>\n\n\n\n He opened with a Mayan temple flute, immediately embracing free improvisation over traditional song forms, inviting the audience into his artistic universe. The flute\u2019s melodies floated above pedal tones, producing a fresh, hypnotic soundscape. Hutchings\u2019 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.<\/p>\n\n\n\n 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.<\/p>\n\n\n\n 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\u2019 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<\/strong>, leaving the audience enveloped in lush, meditative tones.<\/p>\n\n\n\n Shabaka Hutchings\u2019 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\u2019s electrifying AV set, Thursday\u2019s second night at GONGFEST 2025 was a bold statement in contemporary jazz\u2014forward-thinking, experimental, and deeply resonant.<\/strong><\/p>\n\n\n\n![\"\"](\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/08\/DSCF2500-1024x576.avif\")
<\/figure>\n<\/div>\n\n\n\n![\"\"](\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/08\/DSCF2576-1024x576.avif\")
<\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n![\"\"](\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/08\/DSCF2495-1024x576.avif\")
<\/figure>\n<\/div>\n\n\n
\n\n\n\nShabaka Hutchings Takes the Stage<\/strong><\/h4>\n\n\n\n
![\"\"](\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/08\/DSCF2769-scaled.avif\")
<\/div><\/div>\n\n\n\n![\"\"](\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/08\/DSCF2855-scaled.avif\")
<\/div><\/div>\n\n\n\n![\"\"](\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/08\/DSCF3005-scaled.avif\")
<\/div><\/div>\n\n\n\n![\"\"](\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/08\/DSCF2624-scaled.avif\")
<\/div><\/div>\n\n\n\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>\n\n\n\n
\n\n\n\nA Journey Through Sound<\/strong><\/h4>\n\n\n\n
A Bold Statement in Contemporary Jazz<\/strong><\/h4>\n\n\n\n
\n
![\"\"\/](\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/08\/DSCF2666-scaled.avif\")