SPOR FESTIVAL
22/4/2026 - 26/4/2026
Day pass: 100 DKK (under 30) // 150 DKK (30+)
Full pass: 350 DKK (under 30) // 500 DKK (30+)
SPOR Festival’s heart beats for new music and sound art - projects created to challenge and engage audiences, to beautify, rethink, and reveal alternative paths. At SPOR, you can experience both established international composers, works, and musicians, as well as emerging talents. The festival takes pride in providing a platform that actively supports and produces new artistic voices.
The festival takes place from April 22–26 across a range of established venues and alternative locations in Aarhus.
Below you can explore the programme at turkis. The full festival programme is available at sporfestival.dk
WEDNESDAY, APRIL 22
// MIKE SHERIDAN: TOUCH IN CONCERT
21:00–21:50
In this performance, Mike Sheridan turns thematically towards touch, using the rare French instrument Cristal Baschet alongside an analogue synthesizer. He follows an intensified state where presence and perception meet, exploring the tension between control and surrender. What resonates, and what slips beneath the surface?
Touch has been the title of Sheridan’s work over the past year. He is one of only a few instrumentalists in the world performing on the rare French Cristal Baschet. This sound sculpture produces metallic tones set into vibration as mounted glass rods are stroked with wet hands.
Performing live, Sheridan seeks to follow his active listening through an intuitive space, capturing fleeting moments as they arise. This manifests as shifting structures within blocks of ambience.
Photo: André Hansen
FRIDAY, APRIL 24
// LATE-NIGHT LINEUP: PERFORMED BY MICHAEL HOPE & K!ART
21:00–22:00
Late-Night Lineup is a new music concert in an unexpected format: a late-night talk show. Composer and host Michael Hope is joined by ensemble K!ART as the house band (Mikkel Schou, Hsiao-Tung Yuan, Rob Durnin, and Sarah Pehn), with Sebastian Brix as his sidekick.
Guests Rosie Middleton and Dylan Richards join the show, and through interviews, monologues, battles, and challenges, the performance offers new perspectives on clichés and expectations surrounding the contemporary music concert experience.
The concert is commissioned by SPOR Festival and supported by Koda Kultur.
FRIDAY, APRIL 24
// KLARA LEWIS: THANKFUL
22:30–23:15
Thankful is Klara Lewis’ deeply felt tribute and farewell gesture to her late friend, mentor, and former Editions Mego label head, Peter Rehberg. It marks a notably mature and emotionally resonant peak in Lewis’ career to date.
The title track pays homage to Rehberg’s piece Track 3, released under his PITA alias - a timeless work that has had a profound and far-reaching influence on the global experimental electronic scene. Lewis’ interpretation unfolds as a cascade of emotive melodies that gradually dissolve into a euphoric digital abyss.
Photo: Hampus Högberg
SATURDAY, APRIL 25
// FEELING BODY: PERFORMED BY NYOKABI KARIŨKI & DEFUNENSEMBLE
21:00–21:45
Kenyan composer and performer Nyokabi Kariũki reunites with the Finnish defunensemble for this concert, presenting music from her critically acclaimed experimental electronic releases.
Music from peace places: kenyan memories takes the listener on a journey through Kenya, visiting places that were significant to Nyokabi during her upbringing. FEELING BODY explores darker themes and takes the form of a diary-like work, reflecting on a personal period of prolonged illness in 2021 following COVID-19.
To conclude, Nyokabi and defunensemble will offer a preview of a new, yet-to-be-released project, centred around her ancestral language, Gĩkũyũ, and her journey towards fluency.
Photo: Gianfranco Bello
SATURDAY, APRIL 25
// SOPHIA SAGARADZE: THERE
22:30–23:20
“Consciousness is an experience of unexperienced experiences.” A live electronic performance exploring inner perception through unstable machines, voice, and immersive sonic textures.
The work unfolds as a sequence of evolving sounds, moving between pure electronic textures, subtly amplified voice, and gestural manipulation of analogue equipment. Vocal fragments and acoustic elements are processed through analogue effects, dissolving into layers of drones, noise, and fragile harmonic structures that gradually transform over time.
A central element of the performance is the sonic character of the analogue machines themselves. Their hum, hiss, and instability become active musical materials—audible traces of time and technological memory. These imperfections shape a sound world that constantly shifts, erodes, and rebuilds, where unpredictability becomes part of the compositional process.
Thematically, the work revolves around consciousness, emotional intimacy, and the fragile boundary between personal experience and collective perception. During the performance, the audience encounters a continuously evolving sonic landscape shaped in real time. Through immersive sound transformations, listeners are invited into a contemplative space where inner, “unexperienced” experiences momentarily become audible and shared through listening.
Photo: Mari Liis