Last Wednesday in Fort Worth, attendees were treated to a rare experience in the local music scene — an avant-garde evening that pushed the boundaries of sound and performance. The event was hosted at Grackle Art Gallery, an old house with wooden floors and a scattering of mismatched chairs, and it felt more like a secret gathering than a typical concert. The intimate setting created an atmosphere that was both deeply personal and communal. The $10 suggested donation, slipped discreetly into a box outside, reinforced the DIY grassroots spirit of the night.
Grackle Art Gallery, a nonprofit, has been a fixture in the Arlington Heights area since Matt Sacks and his wife bought the house in 1977. They started the gallery in the Spring of 2010, turning their home into a space for healing through art and music.
Lily Taylor opened the evening with a performance that can only be described as otherworldly. As the house lights dimmed and the AC hummed in the background, Taylor announced, “I’m going to try something different tonight.”
What followed was a sonic journey that felt like stepping into a pocket universe of her creation. Her vocals, at times tribal and at others like a sci-fi soundtrack, struck the ear with the resonance of a singing bowl or a tuning fork. The floorboards vibrated with the deep bass tones emanating from her board, creating an almost shamanistic atmosphere. Her looping sounds and abstract compositions engulfed the room, lulling the audience into a trance-like state. It felt as if Taylor was channeling ancestral magic through her voice, casting an incantation that kept everyone glued to their seats.
Next up was Stefan Gonzalez, whose set was akin to watching a mad scientist at work. Known for their involvement in various projects like Trio Glossia, Yells at Eels and the Dennis Gonzalez Legacy Band, Gonzalez’s performance was a masterclass in controlled chaos. The dissonance of their music was challenging, yet it demanded attention. With each note, there was a sense of urgency and turmoil, as if a tortured genius was struggling to break free. The instrument, a vibraphone, was treated as both a melodic and percussive tool, producing sounds that struck the eardrum with a distinct ringing. Gonzalez’s set was a visceral experience, one that left the audience in a state of contemplation.
The evening concluded with a duo set by Marcin Bozek on bass and Danny Kamins on sopranino sax. The two musicians played as if they were chasing each other, their sounds intertwining in a way that was both playful and intense. Kamins’ sax, at times resembling the sound of a balloon slowly deflating, reminded everyone that music has no rules. His circular breathing technique, which caused his face to contort with effort, gave the impression that if he stopped playing, something vital would be lost. Bozek’s bass provided a grounding force, anchoring the duo’s wild explorations into uncharted sonic territory.
In an era where commercialism often dictates artistic direction, the event at Grackle Art Gallery was a refreshing reminder that there’s still space for experimental, boundary-pushing art. For those in attendance, it wasn’t just a concert—it was an experience that lingered long after the last note was played. The Grackle continues to be a haven for those seeking something different, something healing, and something profoundly human.
Upcoming events at Grackle Art Gallery:
- August 16: Sarah Ruth w/ Chris Welch & Overstudied
- August 17: Beth Lee & Darrin Kobetich
