Programme season 2025-26

‘Katrientje’ revisits the loss of Barbara and Stefanie Claes' sister, Katrien, who died at twelve. Theatre director Barbara Claes blends fact with fantasy, humor, and comfort. This reconstruction offers a child's perspective on grief in a time with little focus on mourning.

Close your eyes.
Now, become aware of the visual field in front of you.
In the darkness you see different shapes and colours.

“Where did you fall to and what did you discover?” (Ursula K. Le Guin)

For eight months in 2024, Peter Aers kept The Premonitions Bureau open every Friday. He interacted with visitors' dreams and held dream sessions SOCIAL DREAMING with firefighters and the visually impaired, among others. During this lecture performance, he shares his experiences with dreams and invites you to dream with him, because ultimately the dreamer is the one who listens to the dream.

The Ivorian dancer and choreographer Nadia Beugré delves into her family history with 'Epic ! (for Yikakou)'. In the now overgrown Yikakou, the village of her ancestors, she searched for the unique legacy of her great-aunt Gbahihonon, ‘the woman who says what she sees’.

In this solo performance, Nadia Beugré follows in the footsteps of her great-aunt and other powerful women. Women who built entire communities. Or disrupted them, as in the myth of Dô-Kamissa, the woman who transformed into a buffalo out of anger and ruined the fields of her own brother. Together with a musician and a singer, Beugré restores these forgotten voices, who wrote history from the shadows, to honor. She weaves personal memories and stories from the collective memory into an intimate testimony. 

Nadia Beugré challenges established perspectives in her work, sharply analyzing the codes of femininity, masculinity, and the Western gaze on black bodies.

With his latest solo, Everybody Knows What Tomorrow Brings And We All Know What Happened Yesterday, Mohamed Toukabri steps into uncharted terrain, where movement becomes both excavation and rebellion. Known for his ability to navigate between worlds—be it street and stage, hip hop and postmodernism, personal and political—Toukabri now turns his sharp choreographic eye to the very architecture of dance itself.

In this performance, he dismantles hierarchies embedded in the body, questioning who gets to move how, and why. The piece pulses with the urgency of decolonising the imagination, carving out a space where dance traditions do not compete but converse, where forms long dismissed as ‘low’ hold their own against the canonised. Footwork flows seamlessly into weight shifts; virtuosity and vulnerability coalesce. This is not fusio —it’s friction, coexistence, a rewriting of the rules in real-time.

The title is both a provocation and a reminder: the weight of history moves with us, and tomorrow’s dance is shaped by today’s choices. What responsibility do we carry in what we pass on, in what we erase or uphold? This work does not offer easy answers but insists that we, as witnesses, are implicated in the act of reimagining.

What makes this moment in Toukabri’s journey so arresting is his bold refusal to settle. Having honed his craft within institutions and on the streets, he now claims a choreographic voice that is unmistakably his own: rooted yet unbound, deeply personal yet speaking to a collective reckoning. This is more than a solo—it’s an invitation to step beyond the known, into a dance where all bodies, all histories, belong.

MEDIUM is a ghost performance in which Núria Guiu dances to the music of Stephen O’Malley/SUNN O))). The performance is about how the body is haunted by movements from personal, cultural and virtual archives. The ghost is partly a metaphor for movements from other times and dimensions that return and take up residence in our bodies, but it is also understood as the act of creating in itself, from the invisible realm to its physical manifestation into a performance, which is invoked or brought to life after its creative process death.

The performance is a joint creation of choreographers Ingri Fiksdal (Oslo) and Núria Guiu (Bcn). The musical arrangement and spatialization are by Stephen O'Malley, a member of the legendary black metal group Sunn O))) with music from their album Pyroclasts. Costume and space design are by Ronak Moshtaghi, and lighting by Phillip Isaksen.

To define “Mercedes máis eu” speaking of desire is inevitable. That desire that finds reasons to project itself beyond a first encounter, to become re-encounter, conversation, experience, affection... Persisting in that desire, which updates itself passing through the project, is to underscore what happens to us in each encounter. But it is also to delve into what is our own and what is shared, which is beyond subject and territory. Or at least that territory, written in capital letters, hegemonic, which imposes itself and constructs us from outside, defining our limits through shapes and patterns that have nothing to do with inheritance or memory.

That memory or living archive that updates with desire, distancing us from our own immanence. “Mercedes máis eu” is a work of collaboration between the artist Janet Novás and the composer Mercedes Peón in which  they both explore the particular relation that exists and establishes itself between "her dance and her music." Among instruments, memories, songs, and dances, concepts, in different stages of latency, surface. Some of them, of high socio-political content, are present in the material, from musical- to dance and biographical objects; other somatic concepts or quantum experiences appear in the pulses, rhythms and tones, in the voices and in the dynamics, in the silences, in the shapes. “Mercedes mais eu" looks toward the collective and does so from perspectives and sensibilities not at all archetypal. The work is also a subtle proposal on shared sensibility, and a commitment to artistic action and knowledge. 

The work, in feminine, is a music-dance hybrid full of evocative images. It is divided into four sections, allowing it to inhabit different architectures or frameworks, from more theatrical to installational and museum contexts.

What gestures would you keep, if movement became an issue for you, a battle requiring unfailing attention? This necessity of gesture brings together on stage 3 dancers and 2 performers who have mobility issues – a dancer and an ex-professional boxer – displacing the contemporary notion of the “augmented body”, in a show that crosses performance and cinema.

'Forme(s) de vie' shares a choreographic and cinematographic experience involving 2 performers with reduced mobility and 3 professional dancers. Here, the dancers act as human, sensitive and relational prostheses, compensating for muscular and motor impediments. Bodies said to be impeded and bodies said to be virtuosic augment and influence each other. Through the gestures of their past practices, the body’s memory is reactivated, allowing them to gain in movement. Forme(s) de vie invites spectators to sit on the floor or on the stage floor, close to the performers. During the show, films are projected showing dances performed by people unable to move and unable to be present on stage. These include a group walk in nature near Mont Sainte-Victoire, and a dance in a room at the La Maison nursing home in Gardanne. On stage, alongside the “human prostheses” embodied by the dancers, a former boxer (Kamal Messelleka) and a dancer (Elise Argaud), both suffering from chronic illnesses, form the link between their friends, present on screen, and the scenic space. Onstage, the dancers encourage them to reconnect with the practices they have never abandoned, and which they have had to reinvent to combat their loss of movement.

Forme(s) de vie restores a space of intimacy and collective composition, displacing the contemporary notion of the “augmented body” (or “augmented human”), at a time when the question of disability and of a struggle for movement that concerns us all – remains relegated to the margins of our techno-scientific, competitive and hygienic societies.

In 'the beach', theater maker Sarah Vanhee creates a performance with and by young people about sexuality, desire, and physicality. The beach is an inherently erotic environment: sun, sea, and (semi)naked bodies, exposed to the elements and the gaze of others. It is a place for relaxation, play, and seduction, filled with codes, scripts, and rituals. The popular holiday destination is also a popular social space, a (seemingly) democratic place.

For a fictional day, we follow how people come and go – in pairs, groups, or alone, with friends, family, or complete strangers. The atmosphere is disarming: everyone almost naked surrenders to the sand and waves. But the beach is also ruthless, as the hierarchy of the most attractive, the most muscular, the most popular still applies here. What fits within a dominant cultural framework thrives best here as well.

In 'the beach', teenagers of flesh and blood play the young characters, while all other characters are puppets. From hyper-realistic to enchantingly surreal: on this fascinating beach, there is a strange tension between calm and action, between public and intimate, beneath the sunburned skins.

'Chapters of Celebration' is a full-evening dance marathon, in which a party museum is collectively constructed. The musical common thread is La Folia (‘craziness’) or Folies d’Espagne, a 15th-century musical theme from Iberia that hammers like a heartbeat through classical musical history, thanks to adaptations by composers such as Bach, Vivaldi, and Rachmaninov.

Composer and pianist Wouter Deltour transforms the various compositions into a dazzling, contemporary whole. Director Benjamin Abel Meirhaeghe asks seven renowned choreographers to liberate the revelling body, in chapters that cross baroque dance with ballroom, jazz and rave. As archaeologists of celebration, along with seven singing dancers they seek out the original freedom and craziness of human communities. Thus in Chapters of Celebration we hear the political, ritual echoes of exuberance that humanity seems to have lost along the way.

Following the acclaimed Madrigals, director Benjamin Abel Meirhaeghe and composer Wouter Deltour encounter one another afresh in their shared love of classical music and ritual. Chapters of Celebration is a powerful reminder of the universal need to celebrate, an infectious antidote to individualism. So we don’t forget to always keep on dancing.

A few years ago, Femke Gyselinck was introduced to Bach's ‘dialogue cantatas’. Johann Sebastian Bach is as baroque as it gets. In his oeuvre, the dialogue cantatas occupy a special place, a rare opportunity to hear heaven and earth in conversation.

Together, Femke and B'Rock Orchestra set themselves the following challenge: What other music can be added that creates a contrast but not chaos? How can a unity be created between musical compositions from different periods and zeitgeists? What dance language can be used in the process? What dance language could they use? 

The result is 'Torment of Hearts', in which three dancers, two singers and an ensemble of seven instrumentalists give shape to different manifestations of loneliness triggered by four pieces of music from three different centuries.

The theme of the searching soul from Bach's dialogue cantata 'Liebster Jesu, mein Verlangen' (1726) is also found in the song 'An die Einsamkeit' (1717) by his contemporary Johann Philipp Krieger. They leave the world of early music with the song 'Ich bin der Welt abhanden gekommen' (1901) from Gustav Mahler's Rückert-Lieder. Finally, they land in the twenty-first century with new music written specially for this production by composer/keyboard player Hendrik Lasure. 

All this music will be performed by B'Rock Orchestra with Cecilia Bernardini on violin and singers Jonathon Adams & Kristen Witmer.

What Remains is a story about beginning and ending, about standing at the very end of a lifeline, at the point where you start as a child or where you end as an older one. The poetry of changing as a person, making memories and the fear of losing them. In What Remains, Zoë Demoustier brings two generations together on stage: children who start life and older dancers who leave life behind. The outcome of that encounter is a physical and dancing game between old and young that exposes the perishable body. In a language of movement in which roles can be reversed, both are strong in their vulnerability. A child carries his grandparent; an elderly dancer regains his childlike freedom; Who takes care of whom? They find each other in the similarities and differences. The older generation consists of professional dancers. These dancers embody the forgotten body, the body that is no longer visible on stage. Who are those people, that forgotten group? Are they forced to stop because of a changed body?

'Monica' is a tribute to the mothers of the artist couple Federico Vladimir and Pablo Lilienfeld. Since the beginning of their relationship, the multimedia artists have been amazed by the remarkably parallel lives of their mothers. Not only do they share the same name, both Monicas were born in 1950s Argentina as daughters of European war refugees, and both later migrated back to Europe. Moreover, they were both artists: the ecofeminist paintings of Monica Lilienfeld and the erotic photographs of Monica Pezdirc form the starting point of this performance. 

In 'Monica', Vladimir and Lilienfeld explore the power of representation, genealogy, and our responsibility for those who come after us. The artist couple approaches their mothers' work from a diaspora perspective: these are images that bridge diverse histories, countries, and generations. At the same time, the creators challenge the traditional notion of motherhood and propose a highly personal non-heteronormative alternative. 

'Monica' is like an immersive 'telenovela' full of performance, dance, video, and music. Wars, migration, and classic patriarchal stories coexist alongside each other. And above all: the long-silenced stories finally receive the stage they deserve.

"Open all pores to this gem. And above all, don't forget to breathe." wrote Het Nieuwsblad in 2014 about 'THE DOG DAYS ARE OVER'. The reviews back then did not lie: this production marked the absolute breakthrough for Jan Martens, with an extensive international tour of more than 100 performances. In 2025, Jan Martens and GRIP are recreating this successful show with a new cast. 

The American photographer Philippe Halsman once said: “When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.” With THE DOG DAYS ARE OVER Jan Martens took this statement as a starting point and exposed through the jump the person behind the dancer.

In THE DOG DAYS ARE OVER, the dancer is defined as a pure performer, striving after perfection. Subjected to a complex, mathematical, vigorous and exhausting choreography executed in forced uniformity, the eight dancers ultimately slip up. And then their masks fall.

Thanks to its radical choreographic form, THE DOG DAYS ARE OVER revealed the audience’s perception of dancers, choreographers, spectators and the cultural policy at the time. Ten years on, these questions are still very much relevant due to current political and social trends: Where does the thin line between art and entertainment lie? Who are we as an audience when we contemplate the suffering of dancers from the theatre like a bullfight in an arena? Is contemporary dance striptease for the elite? THE DOG DAYS ARE OVER makes the viewer shift in his position: from being merely subjected to the experience to actively reflecting on it.

... la révélation la plus simple et la plus radicale: 
que le présent se transforme en présence, 
qu’une action devient une histoire, 
qu’un humain devient un héros, 
qu’un endroit devient lieu.
Claire Simon

What if we could throw all the ballast overboard, come home somewhere, return to the essence? In ‘Bron’, different generations share this longing, as equals. It reflects vulnerability, imagination, and strength among people. To the live music of Thomas Devos, the dancers search for what connects them and what future they want to shape. One thing is certain: water takes center stage. With a spring as a gathering place. A place where humanity gallops in its desire, where life flows and overflows.

With ‘Bron’, Joke Laureyns and Kwint Manshoven return to the core of their work. After ‘as long as we are playing’ as an ode to the playful human, and ‘promise me’ that celebrated freedom and recklessness, ‘Bron’ becomes an ode to the creative human. A dance performance about the necessity of ‘making’, about humans as ‘makers’, and about the question of the malleability of life. A performance that touches, connects, and celebrates the power of community. 

In ALABAMA, Fien Leysen follows in the footsteps of her deceased father, reporter Kris Leysen. In 1978 he visited Birmingham, Alabama (US) to create a television documentary for the Belgian broadcast station VRT. In Alabama, he spoke to young adults about work and studies, about the American Dream, and the gap between rich and poor. On his first night in Alabama, the local sheriff pulled over the television crew and charmed by their intentions, promptly gave Leysen the position of deputy sheriff (in name only). All so that the people of Birmingham would trust the film crew. Forty five years later, Fien - now the same age as her father then - sets off to Alabama. She wants to find the students and the sheriff from 1978, revisit the city and its people. In Birmingham, she’ll ask the questions her father forgot, and hopes to find answers for herself. Together with musician Steven De bruyn, Fien will share video of then and now on stage, and the result of her search.).

For three years (2022-25), Natural Contract Lab (NCL) has been walking-with1 the SZenne river and its communities of kin, its plants, people, mud, knotweed, nettles, seen and unseen,... From the source emerging under a willow tree in Naast to the confluence where the river meets three bodies of water in Zennegat. In this symposium the NCL group will present the Living Bill2 for the SZenne river in the format of a hybrid symposium that unfolds from the Protocol for Reciprocal Care3 for bodies of water under deep ecological transformation. During the day, NCL will share their transdisciplinary approach interweaving rights of nature, restorative justice, ecological grief, sensory scenography, participatory rituals and walking methodologies. There will be three parts, which will unfold like a walking-with1 with a storyline, a conversation and a tribune. While walking-with the waters of Ghent, we greet, dialogue and sense the landscape. In VIERNULVIER,  weave in guests in a conversation and presentation of the Living Bill for the rights of the SZenne river by the alliance. ( the alliance includes all the ones who have walked-with, the beings, and other rivers that are in solidarity with the SZenne river)

Rhythm connects us inextricably to the world. It is everywhere – in our steps, in our language, in our emotions, in life itself. Since ancient times, when it served as a mnemonic aid for reciting poetry, rhythm has been used to bring people together: from the chanting of monks to a military cadence. 

Ten years after their joint debut 'Flamer', brother and sister, drummer Lander (STUFF., Lander & Adriaan, BeraadGeslagen,…) and dancer Femke Gyselinck (GRIP, ex-Rosas), join forces once again. What once began as a spontaneous professional exchange has grown into a shared artistic language. This time, they are not performing as a duo, but with a group of seven dancers and four musicians on the big stage. 

In this performance, rhythm is much more than just a component of the music. It is the foundation on which music and dance come together. The patterns of sounds and silences aid in remembering and singing, playing, or drumming in a group. And they make dancing possible.

On average, once every seventy years, the world reaches a tipping point. Like now. Everything will change, and that is both inevitable and desirable.

In his new book ‘Everything Will Change… and for the Better’, professor of economics Koen Schoors presents his inspiring vision for the future. It is a vision of realism – only pessimists will call it optimism. Our economy and energy production will become more regional and sustainable, moving away from globalization and short-term politics. Our industry will become 100% circular, using all waste as raw material. Moreover, we are facing a unique demographic transition. The significant challenges that come with this can be solved through a combination of technology and a change in our behavior.

In short: everything is changing, and especially for the better.

How do we as a society deal with burning issues such as class justice, the future of democracy, woke and cancel culture, or toxic leadership? The media often seeks quick and polarizing answers. In The Arena, we create space for nuanced and in-depth conversations where the audience also has a voice. 

International criminal lawyer Walter Van Steenbrugge and author/entrepreneur Yasmien Naciri invite two guests with expertise each time. Together, they share insights, offer perspectives, and reflect on current events.

The conversations are moderated by Lisbeth Imbo, and the audience is allowed to (judge) evaluate.

Welcome to The Arena

Close your eyes.
Now, become aware of the visual field in front of you.
In the darkness you see different shapes and colours.

“Where did you fall to and what did you discover?” (Ursula K. Le Guin)

For eight months in 2024, Peter Aers kept The Premonitions Bureau open every Friday. He interacted with visitors' dreams and held dream sessions SOCIAL DREAMING with firefighters and the visually impaired, among others. During this lecture performance, he shares his experiences with dreams and invites you to dream with him, because ultimately the dreamer is the one who listens to the dream.

Today's food sector is much like the former tobacco industry. Seventy per cent of supermarket food is “ultra-processed”, addictive and sickening. At the same time, farmers are also struggling. They are stuck in the grip of economies of scale and multinationals, and climate disruption is causing crops to fail with increasing frequency. To sum up: if we view food purely as a commodity, everyone loses.

How do you get out of such a negative spiral as a society?

In his new book 'Zorgen om eten', author Dirk Holemans shows, from both systems thinking and personal experience, how we can ensure a healthy food supply for everyone. Radically caring for eaters, farmers and the living environment leads to a virtuous spiral full of resilience. It replaces streets full of energy-guzzling fridges with short-chain initiatives. The latter is much needed. Because with a food transition, you give both climate and your health a huge boost.

We talk to Dirk Holemans, and let various voices speak about our food. Among others, Fairouz Gazdallah (Food Systems Policy Advisor at Oxfam Belgium) and Tine Hens (historian and journalist focusing on the climate and biodiversity crisis) join us.

For some, it's the books on the table. For others, it's the people discussing the books: how they turn their reading experiences into arguments. And still other visitors find it a particularly enjoyable evening, with the tombola, atmospheric live music and an author coming to read from a book that has yet to be published. There is something to be said for all these reasons. What is certain is that Uitgelezen, the monthly book program in the Theaterzaal, is alive and kicking. Thanks to the panel, fired up by Ruth Joos and including such regulars as Ibe Rossel, Melissa Giardina, Angelo Tijssens and Arno Van Vlierberghe. In the new season, they will also welcome surprising guests: readers with an outspoken opinion and a personal favorite such as 'Signalement'; authors who lift a tip of the veil in the section 'the Vooruit reader'; musical guests from different genres.... It's a mix that leaves you wanting more - whether you read a lot or not. 

How do we, as a society, deal with burning issues such as class justice, the future of democracy, woke and cancel culture, or toxic leadership? In the media, quick and polarizing answers are often sought. In The Arena, we create space for nuanced and in-depth conversations where the audience also has a voice. 

International criminal lawyer Walter Van Steenbrugge and author/entrepreneur Yasmien Naciri invite two guests with expertise each time. Together, they share insights, offer perspectives, and reflect on current events.

The conversations are moderated by Lisbeth Imbo, and the audience is allowed to (judge).

Welcome to The Arena

For some, it's the books on the table. For others, it's the people discussing the books: how they turn their reading experiences into arguments. And still other visitors find it a particularly enjoyable evening, with the tombola, atmospheric live music and an author coming to read from a book that has yet to be published. There is something to be said for all these reasons. What is certain is that Uitgelezen, the monthly book program in the Theaterzaal, is alive and kicking. Thanks to the panel, fired up by Ruth Joos and including such regulars as Ibe Rossel, Melissa Giardina, Angelo Tijssens and Arno Van Vlierberghe. In the new season, they will also welcome surprising guests: readers with an outspoken opinion and a personal favorite such as 'Signalement'; authors who lift a tip of the veil in the section 'the Vooruit reader'; musical guests from different genres.... It's a mix that leaves you wanting more - whether you read a lot or not. 

How do we as a society deal with burning issues such as class justice, the future of democracy, woke and cancel culture, or toxic leadership? The media often seeks quick and polarizing answers. In The Arena, we create space for nuanced and in-depth conversations where the audience also gets a voice. 

International criminal lawyer Walter Van Steenbrugge and author/entrepreneur Yasmien Naciri invite two guests with expertise each time. Together, they share insights, offer perspectives, and reflect on current events.

The conversations are moderated by Lisbeth Imbo, and the audience is allowed to (judge) evaluate.

Welcome to The Arena!

For some, it's the books on the table. For others, it's the people discussing the books: how they turn their reading experiences into arguments. And still other visitors find it a particularly enjoyable evening, with the tombola, atmospheric live music and an author coming to read from a book that has yet to be published. There is something to be said for all these reasons. What is certain is that Uitgelezen, the monthly book program in the Theaterzaal, is alive and kicking. Thanks to the panel, fired up by Ruth Joos and including such regulars as Ibe Rossel, Melissa Giardina, Angelo Tijssens and Arno Van Vlierberghe. In the new season, they will also welcome surprising guests: readers with an outspoken opinion and a personal favorite such as 'Signalement'; authors who lift a tip of the veil in the section 'the Vooruit reader'; musical guests from different genres.... It's a mix that leaves you wanting more - whether you read a lot or not. 

For three years (2022-25), Natural Contract Lab (NCL) has been walking-with1 the SZenne river and its communities of kin, its plants, people, mud, knotweed, nettles, seen and unseen,... From the source emerging under a willow tree in Naast to the confluence where the river meets three bodies of water in Zennegat. In this symposium the NCL group will present the Living Bill2 for the SZenne river in the format of a hybrid symposium that unfolds from the Protocol for Reciprocal Care3 for bodies of water under deep ecological transformation. During the day, NCL will share their transdisciplinary approach interweaving rights of nature, restorative justice, ecological grief, sensory scenography, participatory rituals and walking methodologies. There will be three parts, which will unfold like a walking-with1 with a storyline, a conversation and a tribune. While walking-with the waters of Ghent, we greet, dialogue and sense the landscape. In VIERNULVIER,  weave in guests in a conversation and presentation of the Living Bill for the rights of the SZenne river by the alliance. ( the alliance includes all the ones who have walked-with, the beings, and other rivers that are in solidarity with the SZenne river)

Stap in de magische wereld van Auri, waar Keltische folk, filmische pop en hemelse melodieën samenkomen. Dit unieke trio – Johanna Kurkela, Tuomas Holopainen en Troy Donockley – creëert een sfeer waarin de grenzen tussen waken en dromen vervagen. Met Tuomas’ toetsen en oneindige verbeelding, Troy’s betoverende folkinstrumenten en Johanna’s fragiele, maar krachtige stem nemen ze je mee op een reis door fantastische werelden vol emoties, mystiek en verwondering.

Auri ontstond vanuit een speciale artistieke connectie tussen de bandleden, vrij van verwachtingen en los van hun andere projecten. Hun muziek, een poëtische mix van dromerige soundscapes en etherische zang, raakt direct de kern van het gevoel. Dit is geen muziek die eenvoudig in woorden te vatten is; het is een beleving die je moet ervaren. Laat je meevoeren naar onontdekte paden, sprookjesachtige dimensies en hartverwarmende verhalen.

It all starts on Christmas Eve, when a child witnesses a brutal murder. Twenty years later, a British pianist finds himself caught in a Hitchcockian web of mystery, paranoia and bloodshed, with a sultry, shadowy Rome as backdrop.

Exactly fifty years ago (1975) legendary Italian director Dario Argento delivered Profondo Rosso: the ultimate giallo film. This blood-soaked, baroque genre hit its peak in the gritty 1970s and is known for its twisted murder mysteries, masked killers with a thing for sharp objects, elegant victims, and — of course — buckets of blood. Because the “deep red” of the title most certainly does not refer to strawberry jam.

Double bill with four pianos of fun for masterful atonality by Charlemagne Palestine & Seppe Gebruers, and a bagpipe concert by Scottish talent Brìghde Chaimbeul, en route to the role of leading lady in a world that still dances too much to the tune of men!

Free for Different Class members.

Sludge/post-metal band Pothamus mixes music with metaphysics and takes you on a mesmerizing trip. This three-piece ensemble from Mechelen, Belgium, was formed in 2013 and has since managed to draw an ever-growing audience into their unique blend of repetitive riffs, soaring soundscapes, tribalesque percussion and humming bass lines. Pothamus' enigmatic world revolves around the search for meaning. Mattias M. Van Hulle's lyrics blend Eastern philosophy and Western esotericism into a unique ontology, returning the band to the fundamentals of music: coming together and drifting away. 

Brant Bjork has spent over a quarter-century at the epicenter of Californian desert rock. A founding member and composer in the heavily influential desert band Kyuss as well as propelling the seminal fuzz of Fu Manchu from 1994-2001.

Over the last 30 years embarking on his solo career as a singer, guitarist, composer and bandleader, founding his own record labels (DUNA, LOW DESERT PUNK) and more, his history is a winding narrative of relentless, unflinching creativity.

In 2025 the band is the lean and mean Brant Bjork Trio featuring Mike Amster on drums and old friend and longtime collaborator, desert rock pioneer Mario Lalli (Fatso Jetson, Yawning Man, Desert Sessions) on bass guitar.

Previously this concert was at Club Winter Circus, now at Ha Concerts. Otherwise, everything remains as planned: a top night with Kakkmaddafakka.

Get ready, Ghent! Kakkmaddafakka is back on tour in Fall 2025, bringing their unparalleled energy to Ghent. From epic festivals to unforgettable club shows, the Vikings from the North will provide nights of partying, dancing and lasting memories, with classics like “Restless” and “Forever Alone,” combined with new songs from their upcoming album. A tour not to be missed!

Can you still do it? Deep listening to music? You won't see any ads of this concert on TikTok, because you have to make time for this, consciously bend your ears and surrender to time.

In one long drone concert, BL!NDMAN and Wiegedood perform idiosyncratic interpretations of artists from the classical music world and other more experimental music scenes influenced by the conceptual framework of drone music. The result is a pulsating, immersive concert experience with a custom visual lighting setting. A musically overwhelming trip that stirs the senses and leaves the listener with a completely new understanding of monotonous sounds.