BRDCST is AB’s outstanding indoor spring festival spotlighting musical boundlessness. The name is a direct reference to the retro futuristic electronica-pop of the English band Broadcast that released inspiring albums like ‘Haha Sound’ and ‘Noise Made By The People’ over the past decade. Artists who feel strongly about musical innovation form the focal point for BRDCST. Our musical gut feeling will do the rest.

 

BRDCST consciously supports afrofuturism, with Thundercat, Shabaka And The Ancestors (with saxophonist Shabaka ‘Sons of Kemet’ Hutchings who is often refered to as the English Kamasi Washington), Gilles Peterson-favourite Yussef Kamaal and Moor Mother. The term afrofuturism was first coined in ’93 by American cultural critic Mark Dery in his essay ‘Black To The Future’ and the movement appears to be growing steadily in both literature and in music.

As multi-disciplinary artist, Moor Mother - or Camae Ayewa – feels just as at home in the Metropolitan Museum of Art in Chicago as in the underground noise scène. She describes her music as (sic) ‘low fi/dark rap/blk girl blues/witch rap/coffee shop riot gurl songs/black ghost songs.’ Her latest album ‘Fetish Bones’ reaped rave reviews from The Fader, Pitchfork as well at The Wire: ‘Moor Mother might be the most radical Afrofuturist artist to emerge for years.’

Admittance is free of charge according to the principle of ‘first come, first served.’

This also applies to those with a Limited BRDCST Festival Pass.