Tremor Festival 2020
Mar.31 to Apr. 4
São Miguel Island, Azores
Tickets on sale at Bol.pt and La Bamba Bazar Store
More info soon.
Phantone, Angélica Salvi’s début album, expresses what we’ve learnt from ehr work in the last few years: she has a unique ability to communicate an express herself freely with her instrument, the harp. Hailing from Spain, but living in Porto since 2011, where she teaches at the Music Conservatory. Her trajectory includes collaborations with Evan Parker, the Casa da Música Symphony Orchestra, Ensemble Modelo 62, Brokkenfabriek, Butch Morris, and work developed for Sonoscopia or Balleteatro. The album, recorded during the Encontrarte de Amares, at the Rendufe Monastery, seeks freedom, sonic and the way in which sound can inhabit a space with different layers and allusions to several paths. The “ghost” which exists in the seven pieces in Phantone is quite real, but less formal than you might imagine. More an affirmation than a presence, whether in the places imagined by Salvi’s music or the concrete effects that the recordings in the Monastery produced on her music. Music that one can read, listen, smell, feel and taste.
Throughout the first fifteen years of her activity, Anna Meredith built a full time career writing music for others. Taking commissions from international orchestras, opearas and cultural institutions, composing symphonies, songs and scores for string quartets, exploring beatboxing ans cultural percussion, her music can be heard anywhere, from the most trivial gas station to the most erudite concert hall. In 2016 she released Varmints, a début album where she juxtaposed crossed rhythms, electronica, confessional melodies and touches of irresistibly addictive pop. It was there that she stepped forward as a composer on the border between what we know and don’t know hot to classify. With FIBS, released in late 2019, again presents a set of bravely idiosyncratic songs, 45 minutes of multicoloured maximalism and perpetual rhythmic reinvention, which present the most impressive and visceral musical richness and accessibility in her career.
From the minds of Raul Mendiratta and Francisco Lima (Jacketx), comes one of the most fascinating new projects in current portuguese music. Named Conferência Inferno, the power duo formed between trips to the cities of Aveiro, Porto and Vila Real, it molds an electronica with an intricate and danceable martial matrix, with added kraut rhythms, darkwave atmospheres and punk DNA. Bazar Esotérico, the first EP, shows us the conclusions of the controversial experiments they have undertaken. The dust of nocturnal portraits of a city callow to the art of being urgent. A dance with the contradictions of a wine tasting in reusable plastic cups. An intermittent messianism, whispered from the roof of a building for sale.
It’s hard to find one weekend out of the year when you can’t find them on stage. From clubs to balconies, from stairwells to biker bars or huge festivals, it’s there that Dirty Coal Train feel comfortable. A power trio with DIY inspiration, created by the couple Ricardo Ramos and Beatriz Rodrigues, they’re one of the most productive and hard working bands in the business, without losing the realness with which they grab on to rock and roll. Since 2012, when they presented their début EP, Killer Brains From Venus, they’ve released more than 14 records, with extensive tours, both within and without their borders. Inspired by 60s garage punk and B-movies, their songs are inhabited by zombies, intergalactic beings, voodoo wizards and the landscapes in these adventures through imaginary worlds.. Primitiv, their most recent album, it’s one of several reasons that lead us to them.
From Erzurum to Abuja, from Hải Phòng to São Paulo, there is no musical past that can hide for long from the fingers and ears of Dj Fitz. In a podcast with friends or on the most diverse and eclectic dance floors, he is the king of psychedelic partying, combining the pulsating with the most melodic, the harshest with the smooth. With gypsy tones and rhythmically directed bass lines, this is the type of music we can’t help but dance to, especially if we haven’t heard anything like it before. It must be seen to be believed.
Our taste for funaná isn’t new. With a debt to popular portuguese rhythms (and from other european countries), as well as ancestral african music, it’s a sort of musical “crioulo” which calls to dance in its most natural, earthly and primary state. Party musica connected to a people’s atlantic soul, it unites urban centers to the periphery, often reflecting life, suffering, joy or the socio-political reality of those who interpret it. It is, along with the morna, coladeira and the batuque, one of the most widespread cape-verdean cultural brands. It’s in this universe of names and music which are nowadays global references, that we find Ferro Gaita, ambassadors (beside the likes of Bulimundo or Finaçon) of a legacy made of ingenuity, emotion, sensuality and visceral feeling. Fundu Baxu, Rei di Tabanka or Rei di Funaná are some of the axes that will mark, in Azores, another journey to the rawer and more vibrant side of this inebriating game between the “ferro” and the “gaita”.
They began around seven years ago as a trance experience between friends.Diego, Juan, Pablo and Domingos, all from Santiago de Chile, they transported their influences anchored in history and traditions from the Andes. to a new era of contemporaneity, marked by rich and minimal atmospheres. In III, their fourth long player, they’re perfected their work of musical creation to deliver their most piercing and optimistic record. Deconstructing their own method of recording (for the first time not recording in a live take with the whole band). II is an even deeper expedition into escapist mental states, a “slow roast” of dance music, trance and krautrock.
They’re the strangest raver duo in Indonesia, but don’t let that fool you. They explain what has been usaid themselves: “We’re not educated. We’re not exotic. We don’t play world music”. Colliding cultures or music rushing towards lunacy, this is approximately where we find the space occupied by Gabber Modus Operandi. Born in an Indonesia of muslim corsets, loaded with a long history of colonial domination, ravaged by the legacy of two authoritarian leaders, the music that they make isn’t ready to nestle under any labels. Hallucinating rhythms, blasted at gabber (Indonesian gamelan music) speed, run under melodies which resound with rave party dynamics. On one side there are the productions by Kasimyn, on the other Harem’s performance, in a constant oscillation between the reinterpretation of local rituals, the archipelago’s iconography, the places of metal and the rawness of noise.
More info soon.
He started off as Giovani Cidreira, in 2017, when he surprised th brazilian critics with Japanese Food, the début album for this singer and composer from Bahia, at the time showing influences from the reinvention movements in popular brazilian music, post-punk and confessional indie. Today, he presents himself only as GIO, and has as his test of fire MIX$TAKE, a mixtape recorded in collaboration with Benke Ferraz of Boogarins, inspired by names such as Blood Orange, ABRA or Frank Ocean. Here he touches on themes such as freedom, love, violence, racism or the loneliness of the young black man, under sonic layers of electronic and minimalist timbers. A new life, running to unbalanced beats and frankly personal narratives, that will in all likelihood put him, as of today, in the center of the gold mine of young black brazilan artists that are to be absolutely heard.
Gonzo’s story starts in 2013 with the album Dies Irae. Sis years later, producer Gonçalo F. Cardoso began a new chapter of his story with this alter ego, when releasing Ruídos (à portuguesa) a mix of sounds about his country (Portugal), its people and culture. Using traditional portuguese singing, fishing songs, piano scores, field recordings and different electronica, Ruídos is an ode to the ever present “saudade”, and to the future of an ancestral past. Founder of Discrepant, he has retired as a dj but still explores, in Gonzo, some of the most obscure global music, deconstructing, mixing and pasting it into his mixes, and so challenging the conceptions of what we understand as dance music..
In Peccatvm, who are André Gouveia, António Neves and Hélder Almeida are surely one of he references in the history of metal done in the islands. With references connected to doom/gothic, the Ponta Delgada collective made their début demo in 1990 with In Beauty, consolidating their sonic identity in Just Like Tears, an EP where the rawness and energy of the guitars of Neves and Almeida cross with melodies and textures on piano and synths.In Peccatvm’s sound thickens with string quartets and a touch of “viola da terra” in Antília (2002), their first digital studio production, which also marks their first incursion in conceptual work. In 2009 they show us MDLXIII, a work about the volcanic eruption which in 1563 devastated the central area of S. Miguel island, where they use texts by historian Gaspar Frutuoso (author of Saudades da Terra) and the participation of other local artists, such as the historic Zeca Medeiros.
Between melancholy, despair, volcanos and myths, in this continuous cross between elements of Azorianness and the sonic and conceptual tropes of doom/gothic metal, In Peccatvm’s work will be the subject of a retrospective in Tremor 2020, before the release of the first long player.
Musical contortionism between two vowels, from semba to samba, passing downstream from a slice of cúmbias, coladeras, and the kitchen sink, wearing a palm leaf skirt.
There is a rare simplicity in the music of Juana Molina. Daughter of Horacio Molina, a musician with a career in tango, and actress Chunchuna Villafañe, Juana’s first experience in the arts was as a comedic actress, a genre in which she’d shine until a pregnancy would take her away from the screen. She then rediscovered music, and soon after she released Rara. There was a less than warm reaction from an audience which was still stuck on the idea of her as a comedian on stage. In this new life, Molina conceived herself as a folk singer, inspired by ambient melodies, in constant exploration of states of mind, layers of loops and pop dreams. It took seven records until we landed on Halo, her most recent release and a clear proof that it’s in music that Molina should be. Lightly inspired by the Argentinian legend of the “luz mala” (a sort of luminous mist which floats over lands where bones are buried), Halo draws occult narratives in a trance filled game that leads us to a space which until then belonged to only her.
When, in 2015,Kathryn Joseph released Bones You Have Thrown Me And Blood I’ve Spilled, she was far from thinking that, from it, there might spring forth a career. She assures that the record was done for herself, as a sort of exorcism of the ghosts left by past relationships and the death of her son. An intimate and disarmingly franc portrait that made clear that one of the most prodigious scottish artists in recent years was being born. That explains the inevitable comparisons with Joanna Newsom, Bjork or Anohni, and from there to From When I Wake The Want Is, the most recent record which solidifies an enchanting vocal style and lyricsm balanced with equal doses of vulnerability. Seeing her live is an experience that The List magazine assures to be “ of a dark and sad beauty, where hearts get broken and stolen in equal measures”.
We find Ko Shin Moon in the exploration of the disconcerting, as the french duo is an avid pursuer of ehtnic-musical experiments. Pushing labels of time and space, Axel Moon and Niko Shin mix acoustic instruments from different parts of the world, analogue devices, traditional music, electronic arrangements, sampling and field recordings in a sort of soundtrack to a voyage of patchwork. The eponymous début album compiles memory from hybrid territories, imaginary landscapes and multicoloured collages, where greek and turkish dance clubs meet tibetan traditional music and the Dabke dance rhythm. With 78 Fragments, released in 2019, they created a sound piece that reinvents the musical archives of Gallica (the French National Library’s digital archive) again proving their ability (seemingly inexhaustible) to create music made of the shrapnel of a form that is at once original and undeniably fun.
La Flama Blanca is the tropicalism activist in Lisbon. Innamorate of South America and an aficionado of the anthropological exotism of what is fun in any hemisphere. The helmsman of the Baile Tropicante monthly residency at Musicbox Lisboa, where he brought some of the most unknown and fine cumbia in the american continent into the daylight, crossing historical references and the most recent producers. Music which is born to be danced to, in that territory without borders, age and shame of being sexy. The same that we listen to on his weekly radio show on SBSR, in several parties around the country, and in cities such as Madrid, Paris, Londres, Lille, Praga, Oslo or the more exotic Tainan.
When Panagiotis Melidis, the producer who records as Larry Gus, began releasing records, his creations expressed a particular taste for the creation of a dense quilt of patchwork and samples that would sum up the music that he had been listening too. Collecting artifacts here and there, from disco to soul, from hip-hop to psychedelia, if there is one thing that we can say in his defense is that, from 2006 to today, his music is testament to the ability of turning the old into the new, opening doors to a world that seems distant from the one we see at first. Subservient, the most recent released via DFA Records, is not only his most pop record, it’s also the first in which the greaak builds everything from the ground up, without resorting to any outside samples. Sung in english and greek, Subservient walks the tightrope of frontiers, between pop and greek folk, between anxiety and empathy, conceptually recapping Gus’s life as a father, husband artist and human being, in a country that is still putting out the fires of its well documented economic recession.
It was one of the big comebacks in the national music scene in 2019. After being a part of countless projects, from rock to jazz, finding herself again on stage beside the new generation of portuguese music, Lena D'Água began 2019 willing to serve her body up to the party. Desalmadamente arrived at the shops in May, thirty years after Tu Aqui, her last solo record. With her new core band(built on the skeleton of They're Heading West), João Correia, Mariana Ricardo, Francisca Cortesão and Sérgio Nascimento, and with the production touch of Benjamim, the new record gives clues to a new look over Lena’s career. The ten songs, written by Pedro da Silva Martins of Deolinda, are free of nostalgia and challenge us fearlessly to rediscover one of the most important in portuguese music of the last decades.
Matheus Maranhão - or Lil Kyra - was born in Tiradentes, a city in the state of São Paulo, in Brazil. Emigrating to the Azores in 2013, he soon discovered the taste for rhymes, shared with friends and colleagues on the island. He released Falso Poeta in 2017, a first of a series of tracks that he shared on YouTube, with an aesthetic allied to recent trap trends. He rhymes, produces and records with a handful of young local musicians, contributing to another hotspot of creation in the universe of hip hop, within the Azores archipelago.
Luís Gil Bettencourt is undoubtedly one of the biggest names in the islands’ musical landscape. He was born at the Lajes military Base on June 26th 1956, in a family of musicians from the Graciosa island, hired by the american military to form a Big Band, during that decade. With the usual collaboration of his brothers Paulo, Nuno and roberto, as well as his daughter Maria Bettencourt, Luis Gil is the master of a rather eclectic musical basem with rock as its cornerstone. Somewhere along his trajectory he discovered the Viola da Terra de Dois Corações, from which he builds his first exoerience with the soundtrack to the television sereis Xailes Negros. Also with the typical instrument of Azorian culture, to which he added the adufe, he composed the soundtrack to a documentary about the life of José Saramago. Currently, with his daughter, he takes viola da terra to the stages of Hollywood, London and New York.
MADMADMAD are looking for liberation. Through dance and hedonism, they turn music into space to deal with their personal alienation and the mental disorder of the society that surrounds them. At the base, an obligatory reference to the sacred places of no wave, disco and post-punk, presented here after being filtered through the most outsider experimentalism we can think of. The result opens doors to their studio-sanctuary, and the council of the wills of the jam session. Worth keeping an eye on, as there is a manifesto here that is capable of winning over many followers.
Self-taught musician and composer born in S.miguel, Mário Raposo makes synthesizer music since the 90s, encompassing influences from jazz, classical music, New Age, electronica and soundtrack art. Also in that decade, he was a member of duo Art & Soul and did arrangements for records by azorian music’s prominent figures such as Aníbal Raposo and Luís Alberto Bettencourt, as well as compositions for documentaries and advertising. With a considerable discography since 2007, Mário Raposo presents for the first time under his own name some tracks from his repertoire, in a cross between new age, ambient music, and aesthetics usually associated with the world of science fiction.
They’re one of the most urgent duos to come from the label arm of the Nyege Nyege festival. Mc Yallah is one of the most reputed rappers in her country, spreading a message of integrity and empowerment to the youth of Uganda since 1999. Beside freanch producer Debmaster, they are living proof of the incredible fertility of contemporary Africa’s danceable electronica, creating a serious love affair between lyrics sung in Kiswahili and Luganda (the official language of Uganda) with detailed, demented and distorted productions, which are influenced by hip hop, trap and everything else that involves the bass and te dance floor. An encounter that stutters and roars, that shudders and paralyzes, in demonic jerks up to the red light.
The fruit of two different generations in time, but which have common traits within the life of the archipelago, Milhafre e Gaivota share records found on the migratory routes where life has taken them. At least until the puns with birds and islands become boring.
Milhafre, in his crazy predatory flights, focused his superhuman gaze on Africa and portuguese speaking accents, but found a home in Cape Vert, in the 70s and 80s, in the discovery of synths and the explosion of rhythmic heat that is funaná. There is, of course a lot of semba, rebita and merengue in the talons of Milhafre, which unlike sparrow hawk (Açor), exists in the Azores.
Gaivota, as a bird native to Ribeira Grande with a view over the ocean’s infinite possibilities, decentralizes the focus and exchanges postcards from locations as disparate as Chile, Cameroon or Georgia. Between persian disco, algerian rai or romanian manele, in common there is the potential for each track to shake a dance floor and trigger unusual body movements.
It was in the underground scene of Montreal that the duo of Chris Vargas and Tobias Rochman started to grow. Somewhere between the diversity of offers that inhabit parties and raves in the most hidden parts of the city, they performed side to side with djs, punks and the most experimental performers in electronica. When they released Movimiento para Cambio, their début long player under the Pelada alias, there was no stopping what they had built. Here, music is a living mechanism, mindful of the moral and political ethos of the duo. Vargas churns out ideas of power, identity, vigilance and environmental justice, under the warm blanket of Rochman’s contrasting mix of synths, breakbeats and rhythms. In these ten tracks there is room for women, for non-binarity, for sexual and gender freedom, to talk about violence (physical and sexual) or to pay attention to the “Big Brother” eye created by big data. There is Montreal, but there is also Rio, London, Beijing, Buenos Aires or Moscow,there will be everyone’s contemporary world, in this music born of the urgency of uniting a multitude that needs to escape itself around new formats of entertainment and struggle.
Push 1 stop (Cadie Desbiens-Desmeules) and Wiklow (Michael Dean) are a canadian dup whose work explores the contact points between sound and image. With live performance as their natural habitat, the duo seeks the creation of intense and organic audiovisual experiences, based on a minimalist aesthetic which alternates between the illusion and the physical, celebrating the pure frequencies and the visual beauty of its waves. Their work has been showcased in North America, Mexico, Europe, Middle East and Asia. To the Azores, they bring Membrane, an audiovisual performance with a live, activated artistic installation in tis epicentre, and which offers the audience in the room an immersive atmosphere.
RomeroMartín travels, without a net, through the poetry of Lorca and the uncomfortable expressionism of Val del Omar. A tireless hummingbird, Álvaro Romero has collaborated with names such as Rosario Toledo, Ángel Atienza, Raúl Cantizano, Pedro (Los Voluble) Jiménez or Álvaro Romero, certain that any art that matters is, by its very nature, promiscuous. Unpredictable and adventurous, he joined producer Toni Martín to bring flamenco to era 2.0, blowing up ideas of gender and questioning limits. From an electronic base which sounds like an almost industrial legacy, supported by lyrics by homossexual poets like Chilean Pedro Lemebel, Álvaro Romero and Toni Martín offer an educated journey, without brakes, through the abyss that separates love from hate.
Samuel Martins Coelho has been on a path of discovery and constant reinvention of his musical language. With training rooted in classical music, he has created his own style that, using different sonic sources crosses musical genres and universes, touching on conceptual, experimental and improvisational music. An active member of several projects under his own name and in collaboration with others(EL RUPE, Estranhofone, Mods Collective, Space Ensemble, Escola do Rock, Pata Física), Samuel is also a collaborator with the collective Ondamarela, Teatro Experimental do Porto, Máquina Agradável and Comédias do Minho. He develops several activities within his communities and leads active musical interventions, aimed at children and the general public, collaborating with several artists in dance, theatre and performance art.
In 2019 he released Partita para violino solo, his contribution to contemporary music and the writing of violin music, where he explores the processes of introspection, transformation and deconstruction of the self.
Founder of psych-funk band Garotas Suecas and regular collaborator of Yonatan Gat, the name Sessa won’t be news to those more attentive to the brazilian and american music scene. In Grandeza, the début solo album, he has discovered the space to explore his vision regarding the immense sonic landscape of Brazil. So, it’s no wonder that in this record, which he classifies as a homage to his country, one can find the visceral and sensual qualities of the word (recalling the path created by Caetano Veloso), and the melodic arrangement of someone who grew up listening to Tom Jobim. But Grandeza doesn’t stop there. In an effort to condense the richness of rhythms and textures in brazilian singer-songwriter music, a new way is uncovered, pointing to the future: that of complex simplicity as a starting point of what is beautiful.
By now, it’s become natural to assume that there is something special in the water of Barcelos. Although we don’t know exactly what, it’s true that what it’s done for rock in this country is admirable. Solar Corona were born of the creative bubbling in a city that shows how to write rock with crooked lines. As it should be. Formed in 2013, in 2016 they reached a consensus as to their lineup and settled for a foursome, with Rodrigo Carvalho (guitar/ synths), Peter Carvalho (drums), José Roberto Gomes (bass) and Julius Gabriel (saxophone / synths). After the release of three EPs between 2013 and 2016, Solar Corona got to “Lightning One”, the first LP, the fruit of years of labour seeking the sound that would triumph with this lineup. Here, Solar Corona wear and take off the robes of stoner rockers, and pave a highway to hell of accelerated rock, full of hypnotic desires, and with full reasons to want to be pop and very desired. “Lightning One” is a journey at the top, with the correct coordinates in the mix, under the guidance of José Arantes, mastered by Chris Hardman and with artwork by Serafim Mendes, who transcribes into an image the immensity of psychedelic-tropical roads that merge in Solar Corona.
When immunologist A. David Napier arrived at one of his more fundamental beliefs, he published The Age Of Immunology, a book in which he made clear that the idea of survival could only be conquered through the elimination of the “non-self” that had dangerously spread outside the universe of medicine, infecting everything in its path. For Vanishing Twin, the term (which lends its name to the début album) is born of disillusionment. A five-piece made up of members from Belgium, Japan, Italy, France and America, the band that since 2015 has been based in London, could not remain quiet when faced with the imminence of hardening borders in the country they had chosen to live..The Age Of Immunology, released by Fire Records is, therefore, more than a musical creation, a record with a keen eye for the uncertainty created by growing populism in the old continent, a soundtrack for those who believe in the pluralist dream, who embraces the other, and learns from him. It is so, not only in the lyrics, sung in the members’ mother tongues, but also in the music, wth nods to Sun Ra, Morricone, Jean-Claude Vannier or Stereolab. Vanishing Twin are Cathy Lucas (vocals), Valentina Magaletti (drums), Susumu Mukai (baixo), Phil M.F.U. (“strange noises”) and Elliott Arndt (flute and percussion).
The Fat White Family empire seems to expand infinitely. Alongside Insecure Men or The Moonlandingz, Warmduscher are another of the “Family”’s younger children. Formed by The Saulcano (Saul Adamczewski), Mr. Salt Fingers Lovecraft (Ben Romans-Hopcraft) and several former members of the FWF, the collective seems to f the genetic impositions of their ascendency: taking a traditional musical genre and doing everything within their reach to destroy it.. It was like that with Khaki Tears and once again with Whale City, a sort of rock opera which, according to the band, serves as a fairground for all of those who’ve managed to escape their comfort zone. On Tainted Lunch, their most recent record, they added two extra cooks, Quicksand and Cheeks, and the best imported ingredients that money can buy, Iggy Pop and Kool Keith, serving up the warmest meal of funk, punk, hip-hop and lounge rock. If you can’t take the heat, you better leave the kitchen.
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Restaurants in São Miguel create a MENU TREMOR in the week of March 31 - April 4th, we will present you an itinerary of restaurants in the island of Sao Miguel, inviting the audience to taste the best dishes of the Azores. The restaurants will be announced soon.
A total of five artist residencies will mark Tremor’s 2020 edition with exclusive creations which again will see music relating with the territory, activating the collaborative creation with Azorean artists, and getting different communities involved in the production of events. To the previou...
A total of five artist residencies will mark Tremor’s 2020 edition with exclusive creations which again will see music relating with the territory, activating the collaborative creation with Azorean artists, and getting different communities involved in the production of events. To the previously announced project Atlas São Miguel, directed by Ana Borralho and João Galante, now joins the new collaboration between Escola de Música de Rabo de Peixe and the musician Jerry the Cat, a meeting of Filho da Mãe, Norberto Lobo and Ricardo Martins, and the newest instance of the work Ondamarela has been developing in the past few years with the Associação de Surdos de São Miguel (São Miguel Deaf Association) and local musicians. Another trademark of the festival, Tremor Todo-o-Terreno, will be curated by trio Luís Senra, Sofia Caetano and PMDS, three musicians from São Miguel who will soundtrack a walking route on the island.
The collaboration between Tremor and Escola de Música de Rabo de Peixe is a story of talent, dedication, innovation, and transformation through art. For this year’s edition, Jerry The Cat joins the São Miguel project for the festival’s opening event which will see jazz as the main tool of negotiation and exploration. Also a structural part of the festival’s DNA is the meeting, on stage, of project Ondamarela and Associação de Surdos de São Miguel. In the past two years, they have provided some of the most special and emotional moments of the festival. In March, they meet again for a new chapter of this memories’ book.
In its seventh edition, Tremor emerges as an event made of people, faces, and communities, a mission that also reflects on the increase of Azorean artists. One of those areas will be Tremor Todo-o-Terreno, this year under the curation of multimedia artist Sofia Caetano, the project of piano and electronica PMDS, and the saxophonist, improviser, and performance artist Luís Senra. Together, they will envision a visual and sonic experience developed for a specific walking path, which will culminate in a live presentation in the wild.
Norberto Lobo and Filho da Mãe are two of the most respected musicians of today’s Portuguese music, the guitar being the instrument through which they reinvent the world, playing the universe of who listens and keeps up with them. Owners of a language in permanent ebullition, they have conquered with their records some of the most disputed tops of music critic and, with that, the overall respect of both the public and their peers. For this special creation at Tremor, they are joined by Ricardo Martins, one of the most interesting and versatile drummers in the Portuguese territory. The show, the first chapter of this encounter, will also feature a visual presentation developed in dialogue with the music.
Atlas, of Ana Borralho and João Galante, has been presented in several continents over a hundred times since 2012. For Tremor, the duo will bring to Ponta Delgada a version of the show for 100 people/performers of different occupations called Atlas São Miguel. A monologue, a choir, an echo, a song, a tune, a revolution, which intend to build an atlas of human social organisation, a representation through its function in the society it belongs to.
Tremor’s artist residency program is divided in three axis: Music, Community, and Island; Collaborative Processes; Future and Memory -- offering an exchange of knowledge, collaboration, and experimentation as a strategy to turn São Miguel into a creative hub. This program is sponsored by Fundação Millennium BCP as the main patron, and GALP and FLAD in specific projects. In total, the artist residency program is expected to encompass around 250 Azoreans, between artists and residents.
Tremor returns to São Miguel between March 31st and April 4th with a wide program of artistic interlacing, concerts, and talks. The full line-up will be available on February 27th.
Wayzor is Tremor's official Rent a Car. They offer cars for rent with special prices for the audiences of the festival. This way, you can not only enjoy the festival in comfort and security, but also take the opportunity to explore and visit our wonderful island of Sao Miguel. In order to ...
Wayzor is Tremor's official Rent a Car. They offer cars for rent with special prices for the audiences of the festival.
This way, you can not only enjoy the festival in comfort and security, but also take the opportunity to explore and visit our wonderful island of Sao Miguel.
In order to rent a car you'll need to show your ticket for this year's festival. Online Reservations shall use promocode Tremor2020 to benefit from this partnership. Book your car here now.
There are special conditions for the festival's audience in extras and insurances. Please get in touch directly with Wayzor to know all advantages, book or place your questions - email@example.com
Tremor Festival 2020 is about to sell out! Tickets for Tremor 2020 can be bought here or in Ponta Delgada, at La Bamba Bazar Store, Rua Manuel da Ponte 23, from monday to friday from 10:30 am to 8:00 pm. The ticket costs 50€ until February 29, 2020, and 60€ from March 1st. Tremor r...
Tremor Festival 2020 is about to sell out!
Tickets for Tremor 2020 can be bought here or in Ponta Delgada, at La Bamba Bazar Store, Rua Manuel da Ponte 23, from monday to friday from 10:30 am to 8:00 pm. The ticket costs 50€ until February 29, 2020, and 60€ from March 1st.
Tremor returns to Sao Miguel Island from march 31 - april 4, 2020.
The wait is over, we're thrilled to announce that Tremor 2020 returns to São Miguel Island, March 31- April 4, 2020, for it's 7th edition. Tickets are sale now: https://bit.ly/2krjcea and at La Bamba Bazar Store in Ponta Delgada, Azores. www.tremor...
We are searching 100 people from different jobs to take the stage, with or without performance experience to participate in Atlas São Miguel, a performance by Ana Borralho and João Galante, integrated in the artistic program of Tremor Festival 2020, at Teatro Micaelense. Today, we l...
We are searching 100 people from different jobs to take the stage, with or without performance experience to participate in Atlas São Miguel, a performance by Ana Borralho and João Galante, integrated in the artistic program of Tremor Festival 2020, at Teatro Micaelense.
Today, we launch an open call for one of the biggest projects that Tremor 2020 will develop with the local community. Atlas São Miguel is a proposal by Ana Borralho and João Galante that will build a performance piece with the participation of 100 residents of the island of São Miguel.
Those interested in participating in this creative process, which will result in the presentation of an original work, on April 1 and 2, at Teatro Micaelense, must register through the form https://forms.gle/qKJJNEi7isp14st96 until March 1. The rehearsals will take place from March 26 to 31, in Ponta Delgada.
In Greek mythology, Atlas was the one who was condemned to carry the Earth and the Heavens on his shoulders. Based on this classic representation of the figure and the ideas of Joseph Beuys, an artist who argued that the revolution has the individual as a point of ignition, Atlas São Miguel aims to bring together, on the same stage, 100 people from different professions, to create a map of human social organization that is based on the role that each one plays in society. Exploring processes and mechanisms of creation in groups and with the community, which make art emerge in the personal and social life of each of the participants, Atlas São Miguel will build a silent revolution, which broadens the notion of social sculpture and entrusts the art of having a role active in society.
Ana Borralho and João Galante met while studying fine arts. In the 90's they worked together as actors / co-creators with the theater group Olho. Since 2002, they have worked in partnership in the fields of performance, dance, installation, photography, sound and video. Ana Borralho & João Galante are a couple in life, an entity with two bodies, an essential biographical element for understanding their work, already shown in many countries throughout the world. They created, with Mónica Samões, the cultural association Casabranca and are artistic directors of Festival Verão Azul, in the Algarve.
Dates: Registration open until March 1 // Rehearsals 26 to 31 MAR ’20, in Ponta Delgada // Public performances April 1 and 2, 2020, Teatro Micaelense
Registration and more information
Registration form: https://forms.gle/qKJJNEi7isp14st96
Contact email: firstname.lastname@example.org
Note: In case of more registrations than a 100 participantes, the artistic direction of Atlas São Miguel will be in charge of selecting the participants
When and where is Tremor 2020?
Tremor 2020 happens on March 31 to April 4, on the island of São Miguel, Azores, Portugal.
How do I get to Tremor?
São Miguel is a two-hour flight from Lisbon and Oporto, and a six-hour flight from Boston. Ponta Delgada’s João Paulo II Airport is only ten minutes from downtown, and is serviced by several national airlines with both direct and easy connecting flights.
When and where can I purchase tickets?
Tickets for Tremor 2020 can be bought here or in Ponta Delgada, at La Bamba Bazar Store, Rua Manuel da Ponte 23, from monday to friday from 10:30 am to 8:00 pm. The ticket costs 50€ until February 29, 2020, and 60€ from March 1st. In order to create a balance between local and visiting audiences, 50% of the tickets will be available for sale at La Bamba Bazar, in Ponta Delgada until November 30.
When is the final programme and the distribution of acts per days and venues communicated?
The first announcement is communicated on December 10, 2019 The distribution of the artistic programme per spaces and schedules is revealed on March 10, 2020.
Are there any age restrictions?
Tremor 2020 is an all-ages event. Entrance of children under 3 is allowed, when accompanied by their parents. Passes/tickets will be required for patrons ages 12 and older.
How do tickets work?
Each Tremor ticket must be exchanged by an official Tremor wristband placed on your wrist by an organisation member of the ticket office. We don’t take reservations. A daily pass is not available, nor special priced passes for groups or single tickets for specific concerts. Exchanges happen from March 30 to April 4th in several locations and schedules in São Miguel Island.
The wristband will grant the holder access to activities, depending on the capacity of each venue. The wristband is personal, not transferable and its use is mandatory. Each venue opens 30 minutes before. Make sure you arrive early to the most sought after concerts.
What is the dynamics of the festival? How long do the concerts last?
Tremor is a festival that invites the spectator to make choices and define an artistic itinerary between the different artistic proposals and discover new artists, the island and its different hosting communities. It is impossible to see everything because a lot of concerts happen simultaneously. We discourage you to try seeing everything, so that you have a richer experience. Each venue has limited capacity and the simultaneity of concerts offers the audience always something to see. Concerts last around 45 minutes, this duration might vary depending on the artist and repertory.
Do I need to rent a car?
It’s up to you. Though we advise you to do so, because renting a car is the easiest means of transportation in the island. You will be freer to move around and participate in all the festival’s activities happening around the island in different locations. On saturday, April 4, all activities will be happening in Ponta Delgada and will be within walking distance. In the city, you have a great selection of excellent restaurants. Tremor has a special deal with Wayzor, the official Rent-a-car of the festival. Festival ticket holders have advantages to use this service. Conditions and reservations here.
Is public transportation available?
Once you land in the airport, you can hop on a taxi to your accommodation or Ponta Delgada’s downtown. Ponta Delgada downtown is serviced by a mini bus system. The island is serviced by several public transportation buses that take you to Sete Cidades, Furnas, Ferraria, Vila Franca do Campo, Nordeste, Povoação, Ribeira Grande. You can find route maps and additional public transportation information in the Tourism Office in Ponta Delgada’s main avenue, Avenida Marginal.
Are there buses for the concerts?
The festival’s organization will make available some free transfers for concerts, if those happen outside Ponta Delgada, in other townships of island of Sao Miguel. This offer does not apply to the Tremor na Estufa sessions.
Where should I find accommodation?
Most Tremor’s activities take place in Ponta Delgada, we advise you to stay in town. Please note that the island offers incredible accommodation solutions, for all pockets and types of experience, which can be seen in the section TIPS. The festival does not have a camping site, however the island has several camping sites which can be seen here.
What is Tremor Todo-o-Terreno?
Tremor Todo-o-Terreno is a set of two site-specific experiences that invite the audience to do a hiking trail and discover original sound creations, recorded and live, by commissioned artists. Its attendance is limited and registration is required. Registrations open on April 2 at 10:00 a.m. (Azores time) and will be announced on all Tremor digital platforms (website, app and social media) three hours before the start. Each person can only participate in one trail.
On the night before the event, participants are sent an email with place and hour of departure and the specific needs of participation.
What is Tremor na Estufa?
Tremor na Estufa is a set of surprise concerts in surprise locations. Names are announced in the festival’s lineup but not given a venue. Meeting point: Parque de Estacionamento da Madruga, Av. Antero de Quental, Ponta Delgada.
If you’re out of Ponta Delgada and prefer to go to the place of the concert without going to the meeting point, the surprise location is revealed through the festival’s digital platforms (website, app, social media). Some places have limited capacity.
We advise participants to be ready and take an umbrella, jacket, flip-flops, towels, comfortable clothing and a swimwear. Carrying a valid ID card is mandatory. You cannot drink or smoke in the locations, nor drink or eat. Entrance can be subject to security check.
Is there any free entry activity?
Yes. Annually, Tremor always offers a set of free entry activities upon the capacity of each venue.. The daily distribution of free entry activities of Tremor 2020 will be announced here.
Do you take credit or debit cards?
Ticket sales will only accept cash. Some bars and venues, though not all, will accept credit/debit cards. There are numerous banks and ATM machines located throughout Ponta Delgada downtown area and all around the island.
Will alcohol be available at each event/venue? Can I smoke inside?
Most events will have a bar with beverages available, but some institutional venues will not be serving alcohol, nor its consumption is allowed under their premises. Each venue will have a sign with the restrictions, the same applies to smoking, which varies from place to place.
What about safety and medical needs?
If you need medical attention, please alert an event organiser, venue staff, or member of our security staff and we will assist you.
Can I volunteer in Tremor?
Yes, every year Tremor opens limited registrations for those who want to collaborate with the festival in various functions. Registrations are done https://voluntariadojovem.azores.gov.pt/ from Direcção Regional da Juventude and will be subject to selection. Only the selected participants will be contacted until march 15.
I'm a journalist and I want to cover the festival, how do I do it?
Journalists should contact the festival's communication team, presenting the outlet for which they write, a proposal to cover the festival and / or content to be developed before, during or after the festival. Proposals should be sent to email@example.com. The number of press passes available is very is limited due to the very small capacity of the festival.
I am an artist; I have a band; I want to make a partnership proposal; I had an idea to do in Tremor; I have a venue for a concert. Who do I talk to?
Proposals should be addressed to the curatorial team and organisation – firstname.lastname@example.org – until December 10th prior to the festival. Each proponent will have a response according to the programme of the artistic direction set for each year . Incoming proposals sent after the set date will only be analyses for the following year.
Still didn't find an answer to your question?
If you need more information or have additional questions, please check our "Tips" section or contact us directly at: email@example.com.