New programme info / day passes available now


Different than now? On two long weekends donaufestival 2018 presents a six-day programme fully packed with exceptional experiences for you. We’ve compiled a list by the days with some of the highlights from the rich performance and music line-ups. The complete programme will go online on March 8. 


Day 1 | April 27

The synthetically modulated vocals of Laurel Halo oscillate between dub, broken beats, house, r’n’b, and jazz and evoke an atomised hi-tech pop from the future. For almost a quarter of a century the metal-meets-breakbeats riot squad Lightning Bolt have been playing the craziest and most excessive music you can imagine. The horde music by post-rock legends Godspeed You! Black Emperor pile surging guitar and shimmering strings into elegiac orchestral tracks.

In Medusa Bionic Rise the performance collective The Agency lures the audience to a training camp where a missionary fitness cult with a penchant for futuristic manifestos redesigns humankind.


Day 2 | April 28

Orson Hentschel distorts and slices and dices his sound sources into repetitive short-cuts which are then infused with elements of glitch and trip hop. ZONAL feat. Moor Mother: The grating and lamenting “slaveship punk” of the singer/musician Moor Mother meets the powerful clamour that industrial and dub pioneers Justin Broadrick and Kevin Martin produce under the name ZONAL. The sci-fi r’n’b by Mhysa confronts alienesque a cappella vocals with an aggressive post-club sound, eccentric ballroom, and hyper-aestheticised soul. The eclectic DJ and producer Lotic fuses shards of avant-garde r’n’b with stumbling footwork and trap beats – parallel, sound fragments of scores that György Ligeti could have composed, but also irresistible pop melodies.

The performance and dance ensemble Liquid Loft stages their Church Of Ignorance as a fascinating flipped-image choreography between intimacy and alienation, which is permeated simultaneously with an Esperanto of body language and a Babylonian language chaos. 


Day 3 | April 29

A busker for many years, Susan Dietrich Schneider aka The Space Lady performs what she calls “primitive futurism” – including astronaut helmet and enchanting cover versions. With an inclination for the horror genre and not just in his visuals, the pulsating ambient techno of Demdike Stare will be supported live on stage by Michael England. Death metal super group Gravetemple splices the doom guitars of drone pope Steven O’Malley with the drums of Oren Ambarchi and the gurgle voice of the underworld priest Attila Csihar. Live performances by EX EYE – a formation around the sax player Colin Stetson and drummer Greg Fox – develop into a massive growl of thunder full of dynamic and intensity.


Day 4 | May 4

Amnesia Scanner concentrate, fragment, distort, and accelerate sound particles that might have originated from man or machine. The glamorous performance duo FAKA cross the South African house variant Gqom with archaic gospel songs and perverse polymorphous high-speed rap. With his current ensemble The Animal Spirits ex-techno DJ James Holden pursues the playing styles of spiritual jazz from the 1970s and the Moroccan Gnawa tradition in his psychedelic trips in an endless now.

Based on Ryan Trecartin’s script from the video Re’Search Wait’S, Felix Rothenhäusler stages the theatre piece The Re’Search in which perpetually overwound self-promoters on speed jabber the Occident to death with their asocial network influencer gibberish.

#followmetoo, #fundmetoo, #likemetoo: Barbis Ruder posts the results of her hashtags, which elect the desired performance with the most Likes as possible.


Day 5 | May 5

Socialised in the post-punk scene of Cairo, singer Nadah El Shazly effortlessly weaves improvisation, electronics, and Arab traditions into floating, timeless songs. Pan Daijing, an electronic music artist specialised in harsh, jagged sound design, presents Fist Piece, a performance together with filmmaker Ekaterina Reinbold and soprano Yanwan Xiang. Kraut rock icon from the Ash Ra Tempel Manuel Göttsching plays his legendary one-hour prototechno track “E2-E4” from 1984. The pounding bass of industrial techno label boss Ali Wells alias Perc collides with bleak smudges of synth, rattling hi-hats, and atonal piano textures.

Trophée by Rudi van der Merwe begins as a cognitive study at the end of a 300-metre-long field in the park of Grafenegg Castle, which soon transforms into a martially choreographed crusade advancing towards the audience.


Day 6 | May 6

The last Sunday afternoon of donaufestival 2018 is an invitation to a stretching exercise. In the framework of the 8-hour format as waves go by a diverse array of artists pass on the plug: an undulating drone in the stream of change.

While the waves go by, the dark sepulchral voice of Haley Fohr alias Circuit des Yeux conjures the legacies of Nico, Nick Drake, and Scott Walker; the music of the multi-instrumentalist merges folk, blues, minimalist compositions, and experimental songwriting. The windswept songs by Molly Nilsson oscillate between synthwave and new romantic ballads. The grand noise epics by BIG|BRAVE bathe their audience in a viscous bass sludge that glows with smouldering feedback. Children’s songs, breaks, and more breaks: Deerhoof play a truly free free-jazz variant of rock ‘n’ roll.



The multimedia installation Premise Place (edit 1) by Ryan Trecartin and Lizzie Fitch seems like a brutal mix of YouTube make-up tutorials and trash TV casting shows in which a hyper-consumerist subculture beyond all ethnic or sexual categorisation performs the drama of narcissism between megalomania and collapse.


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