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Fred Frith
On May 10, 2026, at the Istituto Polacco di Roma, Flaming Creatures and Blutopia present Fred Frith solo & trio with Marco Colonna & Fabrizio Spera.
Widely regarded as one of the great innovators of the electric guitar since the early 1970s, Fred Frith is a central figure in the international experimental music scene.
A composer, improviser, and multi-instrumentalist, he is a founding member of legendary groups such as Henry Cow, Art Bears, Massacre, and Skeleton Crew, and has collaborated with artists including Robert Wyatt, Brian Eno, John Zorn, Bill Laswell, The Residents, Material, and Naked City.
For years, Marco Colonna and Fabrizio Spera have been key figures in the Italian creative music scene, with an intense activity often involving collaborations with international musicians such as Wadada Leo Smith, Alexander Hawkins, Matt Maneri, Evan Parker, Tim Hodgkinson, and John Butcher.
10 May 2026
8.30 pm
Istituto Polacco di Roma - Via Vittoria Colonna 1
Seats are limited. The event is reserved for members of the cultural association.
A membership contribution is required to support the event. LINK IN BIO
Media partner: @radio3_rai
A special thank you to Ania Jagiełło
#fredfrith #marcocolonna #fabriziospera #flamingcreaturesroma
On May 10, 2026, at the Istituto Polacco di Roma, Flaming Creatures and Blutopia present Fred Frith solo & trio with Marco Colonna & Fabrizio Spera.
Widely regarded as one of the great innovators of the electric guitar since the early 1970s, Fred Frith is a central figure in the international experimental music scene.
A composer, improviser, and multi-instrumentalist, he is a founding member of legendary groups such as Henry Cow, Art Bears, Massacre, and Skeleton Crew, and has collaborated with artists including Robert Wyatt, Brian Eno, John Zorn, Bill Laswell, The Residents, Material, and Naked City.
For years, Marco Colonna and Fabrizio Spera have been key figures in the Italian creative music scene, with an intense activity often involving collaborations with international musicians such as Wadada Leo Smith, Alexander Hawkins, Matt Maneri, Evan Parker, Tim Hodgkinson, and John Butcher.
10 May 2026
8.30 pm
Istituto Polacco di Roma - Via Vittoria Colonna 1
Seats are limited. The event is reserved for members of the cultural association.
A membership contribution is required to support the event. LINK IN BIO
Media partner: @radio3_rai
A special thank you to Ania Jagiełło
#fredfrith #marcocolonna #fabriziospera #flamingcreaturesroma
On May 10, 2026, at the Istituto Polacco di Roma, Flaming Creatures and Blutopia present Fred Frith solo & trio with Marco Colonna & Fabrizio Spera.
Widely regarded as one of the great innovators of the electric guitar since the early 1970s, Fred Frith is a central figure in the international experimental music scene.
A composer, improviser, and multi-instrumentalist, he is a founding member of legendary groups such as Henry Cow, Art Bears, Massacre, and Skeleton Crew, and has collaborated with artists including Robert Wyatt, Brian Eno, John Zorn, Bill Laswell, The Residents, Material, and Naked City.
For years, Marco Colonna and Fabrizio Spera have been key figures in the Italian creative music scene, with an intense activity often involving collaborations with international musicians such as Wadada Leo Smith, Alexander Hawkins, Matt Maneri, Evan Parker, Tim Hodgkinson, and John Butcher.
10 May 2026
8.30 pm
Istituto Polacco di Roma - Via Vittoria Colonna 1
Seats are limited. The event is reserved for members of the cultural association.
A membership contribution is required to support the event. LINK IN BIO
Media partner: @radio3_rai
A special thank you to Ania Jagiełło
#fredfrith #marcocolonna #fabriziospera #flamingcreaturesroma
On May 10, 2026, at the Istituto Polacco di Roma, Flaming Creatures and Blutopia present Fred Frith solo & trio with Marco Colonna & Fabrizio Spera.
Widely regarded as one of the great innovators of the electric guitar since the early 1970s, Fred Frith is a central figure in the international experimental music scene.
A composer, improviser, and multi-instrumentalist, he is a founding member of legendary groups such as Henry Cow, Art Bears, Massacre, and Skeleton Crew, and has collaborated with artists including Robert Wyatt, Brian Eno, John Zorn, Bill Laswell, The Residents, Material, and Naked City.
For years, Marco Colonna and Fabrizio Spera have been key figures in the Italian creative music scene, with an intense activity often involving collaborations with international musicians such as Wadada Leo Smith, Alexander Hawkins, Matt Maneri, Evan Parker, Tim Hodgkinson, and John Butcher.
10 May 2026
8.30 pm
Istituto Polacco di Roma - Via Vittoria Colonna 1
Seats are limited. The event is reserved for members of the cultural association.
A membership contribution is required to support the event. LINK IN BIO
Media partner: @radio3_rai
A special thank you to Ania Jagiełło
#fredfrith #marcocolonna #fabriziospera #flamingcreaturesroma
.
H O M E L A N D
Bringing a couple of friends north for a handful of performances in beeeutiful, supernatural BC
It's all coming up pretty quick
Come watch Fred shred, Jon do his wizard thing, and me blush 🍇
.
H O M E L A N D
Bringing a couple of friends north for a handful of performances in beeeutiful, supernatural BC
It's all coming up pretty quick
Come watch Fred shred, Jon do his wizard thing, and me blush 🍇
.
H O M E L A N D
Bringing a couple of friends north for a handful of performances in beeeutiful, supernatural BC
It's all coming up pretty quick
Come watch Fred shred, Jon do his wizard thing, and me blush 🍇
.
H O M E L A N D
Bringing a couple of friends north for a handful of performances in beeeutiful, supernatural BC
It's all coming up pretty quick
Come watch Fred shred, Jon do his wizard thing, and me blush 🍇
.
H O M E L A N D
Bringing a couple of friends north for a handful of performances in beeeutiful, supernatural BC
It's all coming up pretty quick
Come watch Fred shred, Jon do his wizard thing, and me blush 🍇
.
H O M E L A N D
Bringing a couple of friends north for a handful of performances in beeeutiful, supernatural BC
It's all coming up pretty quick
Come watch Fred shred, Jon do his wizard thing, and me blush 🍇
.
H O M E L A N D
Bringing a couple of friends north for a handful of performances in beeeutiful, supernatural BC
It's all coming up pretty quick
Come watch Fred shred, Jon do his wizard thing, and me blush 🍇
Next in our hcmf// 2025: Rewind series, we’re revisiting a night where sound unfolded as environment, immersion and legacy all at once.
Sholto Dobie’s @sholtodobie 'cascades' transformed the concert space into a shifting field of breath and resonance. Using concertinas, self-built organ pipes and air pumps, Dobie set quiet, sustained tones in motion — sounds dilating and shimmering as Dobie moved among the audience. It was less a piece to observe than a situation to inhabit, where time stretched and space subtly reconfigured itself.
In contrast, Jessie Marino’s @atjessiemarino 'SLOW BLINK' channelled raw, hypnotic force. Pushing fiddle and electronics into dense layers of distortion and saturation, she created towering walls of sound that resisted resolution. Drawing on drone lineages while carving out something unmistakably her own, Marino offered total immersion.
Completing the programme, Fred Frith @ffrith7 brought five decades of radical exploration to the stage. From underground rock innovator to fearless improviser, his solo performance felt both searching and assured — continuing his lifelong question of what music is, and what it might yet become.
Together, the evening traced three distinct approaches to sound-making — spatial, immersive, iconoclastic — offering a vivid reminder of experimental music’s breadth, vitality, and restless curiosity.
Next in our hcmf// 2025: Rewind series, we’re revisiting a night where sound unfolded as environment, immersion and legacy all at once.
Sholto Dobie’s @sholtodobie 'cascades' transformed the concert space into a shifting field of breath and resonance. Using concertinas, self-built organ pipes and air pumps, Dobie set quiet, sustained tones in motion — sounds dilating and shimmering as Dobie moved among the audience. It was less a piece to observe than a situation to inhabit, where time stretched and space subtly reconfigured itself.
In contrast, Jessie Marino’s @atjessiemarino 'SLOW BLINK' channelled raw, hypnotic force. Pushing fiddle and electronics into dense layers of distortion and saturation, she created towering walls of sound that resisted resolution. Drawing on drone lineages while carving out something unmistakably her own, Marino offered total immersion.
Completing the programme, Fred Frith @ffrith7 brought five decades of radical exploration to the stage. From underground rock innovator to fearless improviser, his solo performance felt both searching and assured — continuing his lifelong question of what music is, and what it might yet become.
Together, the evening traced three distinct approaches to sound-making — spatial, immersive, iconoclastic — offering a vivid reminder of experimental music’s breadth, vitality, and restless curiosity.
Next in our hcmf// 2025: Rewind series, we’re revisiting a night where sound unfolded as environment, immersion and legacy all at once.
Sholto Dobie’s @sholtodobie 'cascades' transformed the concert space into a shifting field of breath and resonance. Using concertinas, self-built organ pipes and air pumps, Dobie set quiet, sustained tones in motion — sounds dilating and shimmering as Dobie moved among the audience. It was less a piece to observe than a situation to inhabit, where time stretched and space subtly reconfigured itself.
In contrast, Jessie Marino’s @atjessiemarino 'SLOW BLINK' channelled raw, hypnotic force. Pushing fiddle and electronics into dense layers of distortion and saturation, she created towering walls of sound that resisted resolution. Drawing on drone lineages while carving out something unmistakably her own, Marino offered total immersion.
Completing the programme, Fred Frith @ffrith7 brought five decades of radical exploration to the stage. From underground rock innovator to fearless improviser, his solo performance felt both searching and assured — continuing his lifelong question of what music is, and what it might yet become.
Together, the evening traced three distinct approaches to sound-making — spatial, immersive, iconoclastic — offering a vivid reminder of experimental music’s breadth, vitality, and restless curiosity.
Next in our hcmf// 2025: Rewind series, we’re revisiting a night where sound unfolded as environment, immersion and legacy all at once.
Sholto Dobie’s @sholtodobie 'cascades' transformed the concert space into a shifting field of breath and resonance. Using concertinas, self-built organ pipes and air pumps, Dobie set quiet, sustained tones in motion — sounds dilating and shimmering as Dobie moved among the audience. It was less a piece to observe than a situation to inhabit, where time stretched and space subtly reconfigured itself.
In contrast, Jessie Marino’s @atjessiemarino 'SLOW BLINK' channelled raw, hypnotic force. Pushing fiddle and electronics into dense layers of distortion and saturation, she created towering walls of sound that resisted resolution. Drawing on drone lineages while carving out something unmistakably her own, Marino offered total immersion.
Completing the programme, Fred Frith @ffrith7 brought five decades of radical exploration to the stage. From underground rock innovator to fearless improviser, his solo performance felt both searching and assured — continuing his lifelong question of what music is, and what it might yet become.
Together, the evening traced three distinct approaches to sound-making — spatial, immersive, iconoclastic — offering a vivid reminder of experimental music’s breadth, vitality, and restless curiosity.
Next in our hcmf// 2025: Rewind series, we’re revisiting a night where sound unfolded as environment, immersion and legacy all at once.
Sholto Dobie’s @sholtodobie 'cascades' transformed the concert space into a shifting field of breath and resonance. Using concertinas, self-built organ pipes and air pumps, Dobie set quiet, sustained tones in motion — sounds dilating and shimmering as Dobie moved among the audience. It was less a piece to observe than a situation to inhabit, where time stretched and space subtly reconfigured itself.
In contrast, Jessie Marino’s @atjessiemarino 'SLOW BLINK' channelled raw, hypnotic force. Pushing fiddle and electronics into dense layers of distortion and saturation, she created towering walls of sound that resisted resolution. Drawing on drone lineages while carving out something unmistakably her own, Marino offered total immersion.
Completing the programme, Fred Frith @ffrith7 brought five decades of radical exploration to the stage. From underground rock innovator to fearless improviser, his solo performance felt both searching and assured — continuing his lifelong question of what music is, and what it might yet become.
Together, the evening traced three distinct approaches to sound-making — spatial, immersive, iconoclastic — offering a vivid reminder of experimental music’s breadth, vitality, and restless curiosity.
Next in our hcmf// 2025: Rewind series, we’re revisiting a night where sound unfolded as environment, immersion and legacy all at once.
Sholto Dobie’s @sholtodobie 'cascades' transformed the concert space into a shifting field of breath and resonance. Using concertinas, self-built organ pipes and air pumps, Dobie set quiet, sustained tones in motion — sounds dilating and shimmering as Dobie moved among the audience. It was less a piece to observe than a situation to inhabit, where time stretched and space subtly reconfigured itself.
In contrast, Jessie Marino’s @atjessiemarino 'SLOW BLINK' channelled raw, hypnotic force. Pushing fiddle and electronics into dense layers of distortion and saturation, she created towering walls of sound that resisted resolution. Drawing on drone lineages while carving out something unmistakably her own, Marino offered total immersion.
Completing the programme, Fred Frith @ffrith7 brought five decades of radical exploration to the stage. From underground rock innovator to fearless improviser, his solo performance felt both searching and assured — continuing his lifelong question of what music is, and what it might yet become.
Together, the evening traced three distinct approaches to sound-making — spatial, immersive, iconoclastic — offering a vivid reminder of experimental music’s breadth, vitality, and restless curiosity.
June 24th 8PM at The Perch (Large Room) we"re proud to bring you Fred Frith and Walnut Brain. It's Fred's first solo gig in Philly for many years. Posting now because these starting selling as soon as I added this to the webpage.
Tickets and info at the link in bio.
See you there!
SWR Kultur JetztMusik March 26, 2026, 9:00 p.m. https://www.swr.de/kultur/musik/russudan-meipariani-und-fred-frith-in-stuttgart-jetztmusik-2026-03-31-100.html Thanks to Julia Neupert for the feature! Foto @timokabel
THE CALIFORNIANS:
FRED FRITH, JORDAN GLENN, MAX JAFFE, SIMON HANES
PROJECT PREMIERE AT BIG EARS 2026, SATURDAY, 3/28
3PM AT JACKSON TERMINAL
🥁 Pa... Da počnemo! Ko nam to otvara 𝐣𝐮𝐛𝐢𝐥𝐚𝐫𝐧𝐢, 𝟑𝟎. @ringring_festival ?
🎸 Pa... 𝐅𝐑𝐄𝐃 𝐅𝐑𝐈𝐓!
👀 Sve najvažnije informacije (𝗲𝗻 | 𝘀𝗿) u ovom trenutku možeš naći na vebsajtu Udruženja Ring Ring 👉ringring.rs.
// Autor fotografije 📷 Lucia Liss //
____________________________
#ringringfestival #ringring2026 #udruzenjeringring #ringringassociation
:✨ANNOUNCING✨:
FRED FRITH —
LIVE AT @mannysstatecollege
Saturday, June 27
DOORS 7PM // ALL AGES
Presented by @gorintoproductions
@ffrith7 is a true pioneer of experimental music. A founding member of the legendary British avant-rock group Henry Cow, Frith has spent decades redefining what the guitar can be—turning it into an orchestra of textures, rhythms, and unexpected sounds. Using objects, prepared strings, looping, and improvisation, he transforms the instrument into something entirely his own.
Across a career spanning more than fifty years, Frith has collaborated with an astonishing range of artists—from Brian Eno and John Zorn to Iva Bittová and Mike Patton—and has composed music for film, dance, and contemporary ensembles around the world. He has also spent years teaching and shaping the next generation of experimental musicians at Mills College.
More info + tickets:
www.mannysstatecollege.com
Fred Frith (UK)
8.3. Punctum 20:00
Ve svých pěti letech se začal učit hrát na housle a následně působil ve školním orchestru. Ve
třinácti přešel ke kytaře a nedlouho poté založil svou první skupinu. Později se věnoval
studiu literatury, ale souběžně se studiem již od roku 1968 působil v avantgardní skupině
Henry Cow; se skupinou hrál až do jejího rozpadu v roce 1978. Po jejím rozpadu založil
soubor Art Bears. Když v roce 1979 Art Bears vystoupili na Pražských jazzových dnech v
Lucerně, změnil se život nejednoho českého rockového experimentátora a posluchače –
Frith a spol. totiž předvedli něco, co díky informační bariéře ztělesněné železnou oponou v
Čechách dosud nikdo neslyšel. Od té doby se jeden z nejpracovitějších současných
hudebníků Fred Frith do českých zemí opakovaně vrací. Mezi stovky jeho hudebních
spolupracovníků se totiž počítají i Iva Bittová a Pavel Fajt. Dále spolupracoval například s
Robertem Wyaettem, Mikem Pattonem, Billem Laswellem nebo se skladatelem a
saxofonistou Johnem Zornem, s nímž nahrál mnoho alb. Frith je součástí slavného filmu Step
Across the Border, který podle Cahiers du Cinéma patří do stovky nejvlivnějších filmů všech
dob.
(EN)
Fred Frith (UK)
8.3. Punctum 20:00
At the age of five, he began to learn to play the violin and subsequently played in the school
orchestra. At thirteen he switched to guitar and not long after that he formed his first band.
Later he devoted himself to the study of literature, but alongside his studies he was active in
the avant-garde group Henry Cow from 1968; he played with the group until its break-up in
1978. After its break-up he founded the Art Bears. When the Art Bears performed at the
Prague Jazz Days in Lucerna in 1979, the life of many a Czech rock experimentalist and
audience member changed - Frith and co. performed something that, thanks to the
information barrier embodied by the Iron Curtain, had never been heard in the Czech
Republic before. Since then, one of the most hard-working contemporary musicians, Fred
Frith, has returned to the Czech lands repeatedly. Iva Bittová and Pavel Fajt are among his
hundreds of musical collaborators.
Fred Frith (UK)
8.3. Punctum 20:00
Ve svých pěti letech se začal učit hrát na housle a následně působil ve školním orchestru. Ve
třinácti přešel ke kytaře a nedlouho poté založil svou první skupinu. Později se věnoval
studiu literatury, ale souběžně se studiem již od roku 1968 působil v avantgardní skupině
Henry Cow; se skupinou hrál až do jejího rozpadu v roce 1978. Po jejím rozpadu založil
soubor Art Bears. Když v roce 1979 Art Bears vystoupili na Pražských jazzových dnech v
Lucerně, změnil se život nejednoho českého rockového experimentátora a posluchače –
Frith a spol. totiž předvedli něco, co díky informační bariéře ztělesněné železnou oponou v
Čechách dosud nikdo neslyšel. Od té doby se jeden z nejpracovitějších současných
hudebníků Fred Frith do českých zemí opakovaně vrací. Mezi stovky jeho hudebních
spolupracovníků se totiž počítají i Iva Bittová a Pavel Fajt. Dále spolupracoval například s
Robertem Wyaettem, Mikem Pattonem, Billem Laswellem nebo se skladatelem a
saxofonistou Johnem Zornem, s nímž nahrál mnoho alb. Frith je součástí slavného filmu Step
Across the Border, který podle Cahiers du Cinéma patří do stovky nejvlivnějších filmů všech
dob.
(EN)
Fred Frith (UK)
8.3. Punctum 20:00
At the age of five, he began to learn to play the violin and subsequently played in the school
orchestra. At thirteen he switched to guitar and not long after that he formed his first band.
Later he devoted himself to the study of literature, but alongside his studies he was active in
the avant-garde group Henry Cow from 1968; he played with the group until its break-up in
1978. After its break-up he founded the Art Bears. When the Art Bears performed at the
Prague Jazz Days in Lucerna in 1979, the life of many a Czech rock experimentalist and
audience member changed - Frith and co. performed something that, thanks to the
information barrier embodied by the Iron Curtain, had never been heard in the Czech
Republic before. Since then, one of the most hard-working contemporary musicians, Fred
Frith, has returned to the Czech lands repeatedly. Iva Bittová and Pavel Fajt are among his
hundreds of musical collaborators.
Fred Frith (UK)
8.3. Punctum 20:00
Ve svých pěti letech se začal učit hrát na housle a následně působil ve školním orchestru. Ve
třinácti přešel ke kytaře a nedlouho poté založil svou první skupinu. Později se věnoval
studiu literatury, ale souběžně se studiem již od roku 1968 působil v avantgardní skupině
Henry Cow; se skupinou hrál až do jejího rozpadu v roce 1978. Po jejím rozpadu založil
soubor Art Bears. Když v roce 1979 Art Bears vystoupili na Pražských jazzových dnech v
Lucerně, změnil se život nejednoho českého rockového experimentátora a posluchače –
Frith a spol. totiž předvedli něco, co díky informační bariéře ztělesněné železnou oponou v
Čechách dosud nikdo neslyšel. Od té doby se jeden z nejpracovitějších současných
hudebníků Fred Frith do českých zemí opakovaně vrací. Mezi stovky jeho hudebních
spolupracovníků se totiž počítají i Iva Bittová a Pavel Fajt. Dále spolupracoval například s
Robertem Wyaettem, Mikem Pattonem, Billem Laswellem nebo se skladatelem a
saxofonistou Johnem Zornem, s nímž nahrál mnoho alb. Frith je součástí slavného filmu Step
Across the Border, který podle Cahiers du Cinéma patří do stovky nejvlivnějších filmů všech
dob.
(EN)
Fred Frith (UK)
8.3. Punctum 20:00
At the age of five, he began to learn to play the violin and subsequently played in the school
orchestra. At thirteen he switched to guitar and not long after that he formed his first band.
Later he devoted himself to the study of literature, but alongside his studies he was active in
the avant-garde group Henry Cow from 1968; he played with the group until its break-up in
1978. After its break-up he founded the Art Bears. When the Art Bears performed at the
Prague Jazz Days in Lucerna in 1979, the life of many a Czech rock experimentalist and
audience member changed - Frith and co. performed something that, thanks to the
information barrier embodied by the Iron Curtain, had never been heard in the Czech
Republic before. Since then, one of the most hard-working contemporary musicians, Fred
Frith, has returned to the Czech lands repeatedly. Iva Bittová and Pavel Fajt are among his
hundreds of musical collaborators.
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