Referring less to agriculture itself than to the gestures of care, repetition, attentiveness and acceptance that cultivation entails, _farming, the project of Adriana João and moss kissing, both members of the long-form music collective ZACHARIAS and part of a close-knit artistic community spanning electroacoustic music and song, finds in repetition a fertile ground for transformation. Through a flowing interplay of languid guitar chords, harmonic gestures and subtle inflections on the violin, richly textured electronic processing and a voice that rises above and haunts this entire hypnotic spectrum of frequencies, the duo gradually unfolds a world of its own.
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Referring less to agriculture itself than to the gestures of care, repetition, attentiveness and acceptance that cultivation entails, _farming, the project of Adriana João and moss kissing, both members of the long-form music collective ZACHARIAS and part of a close-knit artistic community spanning electroacoustic music and song, finds in repetition a fertile ground for transformation. Through a flowing interplay of languid guitar chords, harmonic gestures and subtle inflections on the violin, richly textured electronic processing and a voice that rises above and haunts this entire hypnotic spectrum of frequencies, the duo gradually unfolds a world of its own.
Demdike Stare and Cherrystones come together in ‘Who Owns the Dark?’, bringing Sean Canty and Miles Whittaker's long-standing exploration of occult electronics, industrial atmospheres and club-derived mutations into dialogue with Cherrystones' accumulated knowledge of obscure recorded music, shaped through years of crate digging, generous radio broadcasting – as one of NTS's longest-serving residents – and exploratory DJ sets. Instigating encounters between histories and musical languages as unexpected as they are deeply meaningful, Demdike Stare and Cherrystones channel, in ‘Who Owns the Dark?’, an ever-shifting esoteric current flowing through the residues of industrial, noise, psychedelia and atmosphere. The result is an intuitive collage of weathered loops, voices processed beyond time and space, blankets of noise and fractured beats that align and scatter according to a hypnotic logic of mystery and speculation.
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Demdike Stare and Cherrystones come together in ‘Who Owns the Dark?’, bringing Sean Canty and Miles Whittaker's long-standing exploration of occult electronics, industrial atmospheres and club-derived mutations into dialogue with Cherrystones' accumulated knowledge of obscure recorded music, shaped through years of crate digging, generous radio broadcasting – as one of NTS's longest-serving residents – and exploratory DJ sets. Instigating encounters between histories and musical languages as unexpected as they are deeply meaningful, Demdike Stare and Cherrystones channel, in ‘Who Owns the Dark?’, an ever-shifting esoteric current flowing through the residues of industrial, noise, psychedelia and atmosphere. The result is an intuitive collage of weathered loops, voices processed beyond time and space, blankets of noise and fractured beats that align and scatter according to a hypnotic logic of mystery and speculation.
Falta um mês para começar o OUT.FEST 2026, e deixamos aqui um update aos bilhetes ainda disponíveis - não deixem tudo para a última hora.
Passes globais <100
Dia 1 (quinta-feira) <80
Dia 2 (sexta-feira) <200
Dia 3 (sábado) <240
Dia 4 (domingo) <90
bilhetes disponíveis em outra.bol.pt
programa completo em outfest.pt
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One month to go to OUT.FEST 2026, so here’s an update on ticket availability. Don’t leave everything to the last minute.
Global passes: fewer than 100 remaining
Day 1 (Thursday): fewer than 80
Day 2 (Friday): fewer than 200
Day 3 (Saturday): fewer than 240
Day 4 (Sunday): fewer than 90
A Brazilian band with a well-marked trail across Portugal, DEAFKIDS return to OUT.FEST following their overwhelming 2019 appearance. Now operating as the duo of Douglas Leal and Marian Sarine, they continue to blow apart the conventions of metal, hardcore punk, and the more expansive edges of rock in a transdimensional passage through abyssal riffs, polyrhythms and headbang-inducing martial beats, voices flung into the infinite, and shards of post-industrial electronics that sit perfectly within Barreiro’s histories and horizons. A blistering return, arriving in the wake of the recent release of “Cicatrizes do Futuro” – a title sharply attuned to the present moment – on Neurot Recordings.
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A Brazilian band with a well-marked trail across Portugal, DEAFKIDS return to OUT.FEST following their overwhelming 2019 appearance. Now operating as the duo of Douglas Leal and Marian Sarine, they continue to blow apart the conventions of metal, hardcore punk, and the more expansive edges of rock in a transdimensional passage through abyssal riffs, polyrhythms and headbang-inducing martial beats, voices flung into the infinite, and shards of post-industrial electronics that sit perfectly within Barreiro’s histories and horizons.
A blistering return, arriving in the wake of the recent release of “Cicatrizes do Futuro” – a title sharply attuned to the present moment – on Neurot Recordings.
From the intersection of Rita Silva’s modular synthesiser electronics and the naturalism of Mbye Ebrima’s kora emerges a meeting, already years in the making, between the Western tradition of minimalism and the melodic legacy of West Africa. A rare, if not singular, occurrence in these parts, translated into a music that breaks stylistic and geographic boundaries through a finely tuned symbiosis. Rita Silva, returning to OUT.FEST after a solo appearance in 2023, has been establishing herself as one of the most compelling Portuguese musicians working within the crowded field of modular synthesis composition and improvisation, in continuity with the pioneering work of Delia Derbyshire and Laurie Spiegel. Mbye Ebrima, originally from The Gambia and based in Lisbon for over a decade, is a dedicated practitioner and advocate of the Mandinka-Kaabunké tradition, drawing on the kora and voice to summon a deep historical richness that has led him to collaborate with artists such as Kimi Djabaté and Selma Uamusse.
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From the intersection of Rita Silva’s modular synthesiser electronics and the naturalism of Mbye Ebrima’s kora emerges a meeting, already years in the making, between the Western tradition of minimalism and the melodic legacy of West Africa. A rare, if not singular, occurrence in these parts, translated into a music that breaks stylistic and geographic boundaries through a finely tuned symbiosis. Rita Silva, returning to OUT.FEST after a solo appearance in 2023, has been establishing herself as one of the most compelling Portuguese musicians working within the crowded field of modular synthesis composition and improvisation, in continuity with the pioneering work of Delia Derbyshire and Laurie Spiegel. Mbye Ebrima, originally from The Gambia and based in Lisbon for over a decade, is a dedicated practitioner and advocate of the Mandinka-Kaabunké tradition, drawing on the kora and voice to summon a deep historical richness that has led him to collaborate with artists such as Kimi Djabaté and Selma Uamusse.
Producer, improviser, turntablist and DJ from Leeds, NikNak embraces the sonic and spiritual legacy of Afrofuturism, from Sun Ra to ‘Black Secret Technology’ and Flying Lotus, as a catalyst for imagining other worlds still waiting to be realised. Through a fluid interplay of jazz, jungle and experimental music, she constructs sonic fictions in which the dystopian realities of the present are pierced by flashes of hope. Grounded in an acute awareness of the world as it is, her work remains committed to the act of imagining what might yet come next. The first Black turntablist to receive the prestigious Oram Award, NikNak has earned acclaim from publications such as The Wire and DJ Mag. For good reason.
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Producer, improviser, turntablist and DJ from Leeds, NikNak embraces the sonic and spiritual legacy of Afrofuturism, from Sun Ra to ‘Black Secret Technology’ and Flying Lotus, as a catalyst for imagining other worlds still waiting to be realised. Through a fluid interplay of jazz, jungle and experimental music, she constructs sonic fictions in which the dystopian realities of the present are pierced by flashes of hope. Grounded in an acute awareness of the world as it is, her work remains committed to the act of imagining what might yet come next.
The first Black turntablist to receive the prestigious Oram Award, NikNak has earned acclaim from publications such as The Wire and DJ Mag. For good reason.
