The 2025 Big Ears Festival announcement is nothing short of a symphonic surge of excitement, a signal that one of the world’s most forward-thinking musical gatherings is set to once again push boundaries from March 27 to 30 in Knoxville, Tennessee. Known for its genre-defying curation, the festival returns with a lineup that spans cultures, generations, and sonic landscapes, ensuring that both longtime devotees and curious newcomers will be captivated by its alchemical blend of sounds.
Leading the charge is the transcendent return of ANOHNI & the Johnsons, whose powerful, deeply emotive presence helped cement Big Ears’ legacy in its inaugural year in 2009. With ANOHNI’s voice that feels as much like an invocation as a performance, this set is bound to stir souls and set the tone for a festival that thrives on emotional resonance. For fans of the avant-garde, the North American premiere of Jonny Greenwood’s 133 Years of Reverb will undoubtedly be one of the festival’s crown jewels. Performed over eight hours on the pipe organ by James McVinnie and Eliza McCarthy, this immersive piece will likely blur the line between concert and meditative experience. Alongside this, the Philip Glass Ensemble’s two-day revisiting of “Music in Twelve Parts” stands as a monumental journey through minimalist music’s historical depths, making it a must-see for both die-hard classical fans and the merely curious.
Another highlight is Esperanza Spalding, whose multi-Grammy-winning career has redefined what a modern jazz bassist and vocalist can be. Her genre-fluid approach promises a set as unpredictable as it is masterful. Meanwhile, Irish folk innovators Lankum bring their haunting, atmospheric sound to Big Ears, crafting a narrative of traditional music that’s as eerie as it is beautiful. The festival will also feature Icelandic indietronica band, múm, who were meant to perform in 2020 when the festival had to be cancelled due to the pandemic.
Big Ears 2025 is poised to offer more than just individual performances—it presents a tapestry of musical conversations across generations and genres. Jazz will see a convergence of heavyweights like Steve Coleman, Immanuel Wilkins, and Ambrose Akinmusire, all known for pushing the genre’s boundaries. The inclusion of Pulitzer Prize-winning artists like Tyshawn Sorey and Wadada Leo Smith points to a weekend rich with deep exploration into the nexus of jazz and classical music. Their performances are sure to be among the most cerebral, multi-layered experiences of the festival.
The festival continues its tradition of welcoming electronic and ambient pioneers with Steve Roach, making his Big Ears debut, while Americana and ambient sounds will intermingle under the curation of Bob Holmes and SUSS. King Britt returns to helm his Blacktronika series, which promises to be a genre-blurring feast, including performances from Antipop Consortium and a surprise all-star band that is sure to spark intrigue.
Returning artists with new projects add a layer of excitement: Béla Fleck, Bill Frisell, Arooj Aftab, and Meshell Ndegeocello bring fresh sounds and perspectives to the festival. The fact that Sun Ra Arkestra and Yo La Tengo will not only perform separately but also collaborate for what’s sure to be an extraordinary set feels like the festival’s quintessential offering—a meeting of minds that defies expectations. And, of course, the legendary Taj Mahal—a name synonymous with American roots music—will grace the stage, a reminder that Big Ears’ respect for musical heritage is as profound as its hunger for innovation.
As always, the festival will be announcing more acts in the months to come, and it seems likely that each new addition will continue to solidify Big Ears 2025 as a must-attend for anyone who cares about music in its most exploratory forms. Passes go on sale on September 12, and with a lineup this bold, you’ll want to secure yours early for what promises to be an unforgettable celebration of musical genius.
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thisbis so exciting is just schvezed myself