Music Space / Counterflows call-out!

Join an orchestra of kazoos led by artist Agnès Pe to open this year’s Counterflows festival.
Woodside Hall
Thursday 9 April 

Rehearsals: 3–6pm 
Break/food: 6pm
Performance: 7.30–7.50pm

The opportunity is for all ages. There are 30 places (parents/carers can be a +1 if required). The performance will take place at Woodside Hall which is an accessible venue.
*No music experience is required to take part in the performance, and equipment is provided.

The orchestra is now FULL!

Doo, who, rrrr or brrr. A masquerade symphony is a composition for multiple kazoos, which can be performed by people who have no knowledge of musical notation. The musical composition is inspired by a work called Pagsamba by Filipino composer José Maceda, which was created for a group of 100 voices, various instruments and bamboo gongs, with performers arranged around the room.

Doo, who, rrrr or brrr. A masquerade symphony will take place as part of a wider opening event including performances from Rhodri Davies & Áine O’Dwyer and Remont Pomp. See here for further info.

Pizza will be provided at 6pm before the event begins!

Please email us via music.space.programme@gmail.com with any questions.

Venue information (Woodside Hall)
There is step-free access and accessible toilets on site. Follow this link for information on how to get to the venue.

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Agnès Pe develops her artistic practice at the intersection of sound experimentation, digital artifacts, and subversive pop culture. She works with sound as raw material, exploring its ability to challenge conventions, provoke dissonance, and generate new narratives. Her work focuses on forgotten sound infrastructures, technological errors, and obsolete devices, which she rescues and transforms into creative tools. Through sound collage, plunderphonics, and digital alteration, she offers a critical reinterpretation of music and its social function.

She conceives creation as a playful and experimental process that does not seek closed answers, but rather spaces of friction and engagement with the listener’s expectations. Her practice moves between sound art, experimental radio, and public space, always searching for alternative forms of sound dissemination and reception.