Midwinter is a compelling idea.
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It has sparked think-pieces on the state of the festival and what an event like this could do better, and, rightfully, a lot of criticisms about accessibility, elitism, and the like. The A.
Club attended all three nights of the inaugural event, and while it was undoubtedly weird, occasionally Kubrickian in some respects, our staffers largely came away with positive experiences. There are plenty of kinks to work out, but Midwinter was an idea worth trying where the music, above all, was well-curated, and where—thanks to features like pop-up gallery performances—attendees could experience rare senses of discovery and immersion.
Here are some highs and lows. The precise uniformity of the string section, for example, was hypnotic in itself, while the shifts in tempo hit harder, allowing the disintegration to resonate not unconsciously, as in the original piece, but more like a structure that loses a key part of its foundation. The quake rocks that much harder, but the collapse remains beautiful. There were a lot of one-percenters milling around Midwinter, giving the thing an occasional Kubrickian vibe, but this was part of the appeal: watching some of our more subversive popular musicians transform the halls of a cultural and financial institution into something earthier, and stranger.
Few shows exploited this quite so well, at least in premise, as Yves Tumor performing his genre-obliterating music in the Daniel Burnham-designed floor of the Chicago Stock Exchange. The set list leaned heavily on new material that sounded like another quantum leap forward for the artist: equal parts Max Martin, disco schmaltz, hair metal, and Prince at his most histrionic.
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A glimpse into that future was worth the price of admission. Arriving 10 minutes before showtime, I was able to walk up and sit in the second row of the 1,seat Rubloff Auditorium, which felt downright criminal. How do you throw a music festival in an art museum? Well, quietly, for one. Contents [ show ].
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