𝗦𝗵𝗮𝗻𝗲 𝗣𝗮𝗿𝗶𝘀𝗵 "𝗔𝘂𝘁𝗲𝗰𝗵𝗿𝗲 𝗚𝘂𝗶𝘁𝗮𝗿" | OUT.FEST 2026

Against the idea that the guitar’s potential has already been exhausted, Shane Parish has been carving out an exemplary body of work on the instrument that, without resorting to grand gestures, quietly disproves that claim. A guitarist, composer, improviser, and educator, he builds a language grounded in a deep knowledge of history, its canons and forms, projected into the present, whether through his work with Ahleuchatistas and the Bill Orcutt Guitar Quartet or in his solo acoustic practice, where he engages both the Appalachian songbook and visionaries such as Ornette Coleman and Aphex Twin.
Earlier this year he released the surprising and self-explanatory “Autechre Guitar”, where the somewhat unthinkable transcription of 1990s electronic music by the pioneering Sheffield duo reveals the melodic and emotional core — so often overlooked — of pieces from Amber and Tri Repetae, in what is most essential about them. One of those records you just HAVE to listen to.

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Against the idea that the guitar’s potential has already been exhausted, Shane Parish has been carving out an exemplary body of work on the instrument that, without resorting to grand gestures, quietly disproves that claim. A guitarist, composer, improviser, and educator, he builds a language grounded in a deep knowledge of history, its canons and forms, projected into the present, whether through his work with Ahleuchatistas and the Bill Orcutt Guitar Quartet or in his solo acoustic practice, where he engages both the Appalachian songbook and visionaries such as Ornette Coleman and Aphex Twin.
Earlier this year he released the surprising and self-explanatory “Autechre Guitar”, where the somewhat unthinkable transcription of 1990s electronic music by the pioneering Sheffield duo reveals the melodic and emotional core – so often overlooked – of pieces from Amber and Tri Repetae, in what is most essential about them. One of those records you just HAVE to listen to.

+ info & bilhetes / tickets ➟ outfest.pt

📷 Scott Hubener

𝗛𝗲𝗹𝘃𝗶𝗼𝗳𝗼𝘅 | OUT.FEST 2026

Having already established a distinctive artistic voice within the world of Batida and the extended Príncipe family, Helviofox confirmed all the promise of his earlier EPs, standalone tracks and remixes with ‘Rodeado de Batida’. A member of the TLS crew and the younger brother of Dadifox and Erycox, whose work he openly cites as a formative influence, Helviofox began producing his first tracks at just thirteen years old. Since then, his music has steadily evolved, carving out its own space and poetic language through the elegant interplay of propulsive rhythms, liquid keyboards, dreamlike melodies and grooving basslines, bringing fresh momentum to a musical DNA that continues to unfold.

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Having already established a distinctive artistic voice within the world of Batida and the extended Príncipe family, Helviofox confirmed all the promise of his earlier EPs, standalone tracks and remixes with ‘Rodeado de Batida’. A member of the TLS crew and the younger brother of Dadifox and Erycox, whose work he openly cites as a formative influence, Helviofox began producing his first tracks at just thirteen years old. Since then, his music has steadily evolved, carving out its own space and poetic language through the elegant interplay of propulsive rhythms, liquid keyboards, dreamlike melodies and grooving basslines, bringing fresh momentum to a musical DNA that continues to unfold.

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📷 Marta Pina

𝗪𝗵𝗶𝘁𝗻𝗲𝘆 𝗝𝗼𝗵𝗻𝘀𝗼𝗻, 𝗟𝗶𝗮 𝗞𝗼𝗵𝗹, 𝗠𝗮𝗰𝗶𝗲 𝗦𝘁𝗲𝘄𝗮𝗿𝘁 | OUT.FEST 2026

At the culmination of an artistic residency taking place at AMAC, this trio, whose collective CV commands respect (with paths that span composition, improvisation, and collaborations with some of the most restless figures in the Chicago scene), appears at OUT.FEST surrounded by admiration and the ongoing chorus of praise for “BODY SOUND”, released earlier this year on the ever-reliable International Anthem label.
Partindo de improvisações para um trio de cordas – violino, viola e violoncelo – e vozes, em conluio com o processamento de fita analógica, excedem largamente as mais expectáveis limitações da música de câmara para erguer um corpo de som de presença densa e inquieta. No enlace entre harmonias vocais, repetições, melodias encantatórias e passagens sinuosas, acaba por emergir algo que se reconhece como memória sem o ser: uma música absolutamente sua, sem tempo e sem lugar, uma forma de tradição sem origem que raras vezes se deixa assim intuir.

[Within the scope of the tekhnē project, co-funded by the European Union]

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At the culmination of an artistic residency taking place at AMAC, this trio, whose collective CV commands respect (with paths that span composition, improvisation, and collaborations with some of the most restless figures in the Chicago scene), appears at OUT.FEST surrounded by admiration and the ongoing chorus of praise for “BODY SOUND”, released earlier this year on the ever-reliable International Anthem label.
Working from improvisations for a string trio – violin, viola, and cello – and voices, in interplay with analog tape processing, they far exceed the expected limitations of chamber music to shape a sound of dense, unsettled presence. In the interplay of vocal harmonies, repetition, incantatory melodies, and sinuous passages, something emerges that registers as memory without being so: a music entirely their own, without time or place, a form of tradition without origin that only rarely allows itself to be sensed in this way.

[Within the scope of the tekhnē project, co-funded by the European Union]

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📷 Leah Wedzinski

𝗞𝗮𝗿𝗲𝗻 𝗪𝗶𝗹𝗹𝗲𝗺𝘀 | OUT.FEST 2026

“When I make music, there’s no plan. I draw my inspiration from everyday life.” With the seemingly simple transparency of this statement, Karen Willems beautifully encapsulates the motivations and sensibility behind her work. A percussionist based in Belgium, Willems has developed an intuitive musical language, far removed from the constraints of academic convention. Drawing on percussion instruments from a wide range of traditions, as well as piano, everyday objects, field recordings, and her own voice, she creates compositions suspended between the sounds of the world around us and those set in motion by human intervention. These are delicate pieces, imbued with an emotion that never imposes itself, but is instead gently suggested — with a sense of effortlessness that conceals extraordinary attention to detail.

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“When I make music, there’s no plan. I draw my inspiration from everyday life.” With the seemingly simple transparency of this statement, Karen Willems beautifully encapsulates the motivations and sensibility behind her work. A percussionist based in Belgium, Willems has developed an intuitive musical language, far removed from the constraints of academic convention. Drawing on percussion instruments from a wide range of traditions, as well as piano, everyday objects, field recordings, and her own voice, she creates compositions suspended between the sounds of the world around us and those set in motion by human intervention. These are delicate pieces, imbued with an emotion that never imposes itself, but is instead gently suggested – with a sense of effortlessness that conceals extraordinary attention to detail.

+ info & tickets / bilhetes ➟ outfest.pt

📷 Dominiek Claeys

𝗣𝗶𝗻𝗸 𝗦𝗶𝗶𝗳𝘂 | OUT.FEST 2026

Figura bem singular e hiperactiva, Pink Siifu tem desdobrado a sua persona de rapper, músico e cantor numa torrente imparável de álbuns, mixtapes e colaborações com montes de gente ilustre: de Talib Kweli, Madlib ou The Alchemist a Moor Mother, MIKE ou Earl Sweatshirt. Empreendedor de bravura e visão ampla originário do Alabama, Siifu manobra continuamente qualquer catalogação que se lhe queira impor, num desbravar alinhado espiritualmente com os avanços do rap operados em terras sulistas pelos OutKast e Organized Noize e vividos hoje na pele dos nomes acima citados e gente como JPEGMafia ou billy woods. 'BLACK'!ANTIQUE'!', álbum do ano transacto, sucede 'NEGRO' e 'Gumbo' nesse acto de inconformismo, sintonizado com a liberdade do free jazz e a revolta do punk, numa confluência de diferentes flows, sintetizadores ásperos, farpas de distorção e batidas que tanto convidam à queda como ao balanço.

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Singularly hyperactive Pink Siifu has unfolded his persona as a rapper, musician and singer across an unstoppable torrent of albums, mixtapes and collaborations with an imposing cast of names – from Talib Kweli, Madlib and The Alchemist to Moor Mother, MIKE and Earl Sweatshirt. A bold and wide-visioned operator from Alabama, Siifu consistently evades any categorisation imposed on him, carving a path spiritually aligned with the advances of Southern rap shaped by Outkast and Organized Noize, and carried forward today by artists like JPEGMafia and billy woods. “BLACK’!ANTIQUE’!”, last year’s album, follows “NEGRO” and “Gumbo” in this act of nonconformity, tuned to the freedom of free jazz and the revolt of punk, where flows collide, abrasive synths flare, shards of distortion cut through, and beats invite both collapse and movement.

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