comment12.09

Irony Is Not Dead. It Has Just Got Feelings

For a long time I scoffed at metamodernism. Now it has made the last 30 years of composition music hang together. But it is misleading when music scholars call metamodernism a school.

By Jakob Gustav Winckler

comment08.07

Out of Utopias and Down to Earth

From Old Testament wisdom and hippie dreams of community to erotic nightclub atmospheres and dark, rumbling techno. Roskilde Festival 2026 is a wild ride through eras, genres and mental geographies – and a good place to practise carrying dreams carefully through the extreme conditions of our time.

By Rasmus Steffensen

• comment21.12

  Let’s Finally Drop the Rhetoric of »forgotten« Women Composers

  
  Women opera composers of the past have returned for good. But how do we break the closed circuit of opera history?

  By Jakob Gustav Winckler
• comment13.08.2025

  I Most Certainly Will Not Stay Away From Your Theatre

  
  A few days before this year’s Copenhagen Opera Festival begins, I, as a critic, have been asked to keep away from one of the festival’s most experimental performances at the theatre Sort/Hvid. This is a complete misunderstanding of the role of criticism.

  By Sune Anderberg
• comment07.07.2025

  Roskilde as a Battleground of Sound

  
  Roskilde Festival insists on ecstasy and togetherness, but the most beautiful moments arise in the dark, where the curious still dare to listen.

  By Rasmus Steffensen & Andreo Michaelo Mielczarek

• comment19.04.2021

  Sublime ghosts and capricious categories

  
  To reach its potential music criticism needs to go beyond opinion. Macon Holt suggests the critic must grapple with the ethics and politics of the music.

  By Macon Holt
• comment18.12.2018

  Not so diverse after all

  
  The Nordic Music Days in Helsinki failed to deliver on its promise of diversity, even if seen from a strictly stylistic point of view, writes participating composer Tine Surel Lange.

  By Tine Surel Lange