In its regular September slot, the Ring Ring Association is presenting the 14th edition of the Todo Mundo Festival, bringing four outstanding world music acts and musicians from six countries to Club Karmakoma in Belgrade on 24 and 25 September.
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Four concerts, six countries and one common thread – the accordion. This year, it will appear across a variety of musical traditions and styles, from Hungarian and Spanish music to tango and the bandoneon, and contemporary Balkan sounds.
FIRST NIGHT – HUNGARY AND SPAIN
For years, Hungary’s world music scene has been one of the most exciting musical scenes in Europe. The first festival night will open with Fanfara Complexa, a large ensemble whose musical inspiration comes not only from Hungary and Romania, but also from Balkan traditions. Although the band’s name may suggest a typical brass ensemble, Fanfara Complexa offers much more – alongside brass instruments, the line-up features accordion, cobza and cimbalom.
Their music is energetic, playful and made for dancing. This will be Fanfara Complexa’s debut performance in Belgrade.
The same evening, Xabi Aburruzaga Trio from the Basque Country, Spain, will make their Serbian debut. The band’s leader, Xabi Aburruzaga, is one of the best-known contemporary performers on the trikitixa, the traditional Basque diatonic accordion. Together with his trio, he will introduce audiences to the vibrant and distinctive musical tradition of the Basque Country.
SECOND NIGHT – TANGO AND THE BALKANS
The second festival night will open with renowned Serbian accordionist Branko Džinović. This time, however, he will not be playing the accordion, but the bandoneon. The programme is, naturally – tango.
The festival will close with Almir Mešković and Daniel Lazar, a Balkan duo who met while studying in Norway and have been building a successful international career for almost a decade. They have performed on three continents, captivating audiences everywhere with their virtuosic, energetic and expressive musicianship. This will be their first concert in Belgrade in seven years.
As part of the festival programme, on the second evening, before Almir and Daniel’s concert, the musicians will receive the “Vojin Mališa Draškoci” Award, traditionally presented by the World Music Association of Serbia with the aim of fostering, developing and promoting artistic creativity within the broad spectrum of world music in Serbia and the region.
Both evenings begin at 8 PM and will take place at Club Karmakoma.
Tickets are available via the tickets.rs website and at its points of sale, as well as by contacting the organisers at todomundofestival@gmail.com.
The festival is supported by: Embassy of Spain in Belgrade, Collegium Hungaricum, Acción Cultural Española (AC/E) through its Programme for the Internationalisation of Spanish Culture (PICE), Music Norway, Kulturrådet, Fond for utøvende kunstnere, and the UPBEAT Platform.
Almir Mešković and Daniel Lazar Receive the “Vojin Mališa Draškoci” Award for 2026
Almir Mešković, an accordionist from Bosnia and Herzegovina, and Daniel Lazar, a violinist from Serbia, are the recipients of the “Vojin Mališa Draškoci Plaque and Statuette” for 2026, awarded by the World Music Association of Serbia (WMAS). The award will be presented to them on 25 September in Belgrade, at Club Karmakoma, where Mešković and Lazar will also perform as part of the closing programme of the 14th “Todo Mundo” Festival.
The selection of this year’s laureates confirms the award’s commitment to recognising artists who do not view traditional music as a closed and unchanging form, but as a space for contemporary creativity, exploration and the development of new musical expressions.
This approach is at the heart of Almir Mešković and Daniel Lazar’s work. The two musicians met while pursuing master’s degrees in classical music at the Norwegian Academy of Music in Oslo, and their collaboration grew out of a meeting of classical training, Balkan musical heritage, improvisation and original music.
A large part of their repertoire consists of original compositions inspired by the musical traditions of Serbia, Bosnia and Herzegovina, and Romania, enriched by influences from the musical and cultural environment of Scandinavia, where they have lived and worked for many years. In the dialogue between accordion and violin, traditional motifs, rhythms and modes become a starting point for creating a distinctive contemporary musical language that transcends genre and geographical boundaries.
Their work has received significant international recognition. In 2025, they won the “UPBEAT Best New Talent” Award, recognising some of the most promising emerging artists on the European world music scene, as well as the “Jeunesses Musicales International” Award for Best Concert for Young Audiences.
They have also achieved notable results on international world music charts, reaching No. 1 on the Balkan World Music Chart, No. 5 on the World Music Charts Europe, and No. 7 on the Transglobal World Music Chart. To date, they have released two albums – “Roots” (2018) and “Family Beyond Blood” (2023).
On 25 September, Mešković and Lazar will appear at the “Todo Mundo Festival” for the second time. Their first festival appearance took place on 2 October 2019 at the Student Cultural Centre (SKC) in Belgrade, as part of the festival’s eighth edition.
The “Vojin Mališa Draškoci” Award was established in memory of professor, composer and double bassist Vojin Mališa Draškoci (1945 – 2000). For more than a decade, the award has recognised outstanding authors and performers whose work contributes to the development and promotion of contemporary world music in Serbia and the region.
Recent laureates include Vladimir Lenhart – Lenhart Tapes, who received the award in 2024 as part of the 12th “Todo Mundo” Festival, and the Belgrade-based band Naked, recipients of the 2025 award.
The Belgrade concert by Almir Mešković and Daniel Lazar is supported by Music Norway, Kulturrådet, Fond for utøvende kunstnere and Upbeat platform.
At the age of seven, Xabi Aburruzaga began studying music and playing the piano accordion. At twelve, he got his first trikitixa, the traditional Basque diatonic accordion, marking the beginning of a passion that would shape his life.
He soon recorded his first demo featuring his own compositions, and went on to write music for Ikastola Karmelo school, the festivities in Bermeo and the “Ibilaldia ’04” festival, collaborating with numerous renowned musicians. In 2005, he published the book “Bizkaiko trikitixa”, followed two years later by an album of the same name. With “Denboraren naufrago” (2009), he entered a new creative phase, placing greater emphasis on his own compositions and songwriting. On the album “Geure” (2013), he collaborated with acclaimed writers and lyricists.
Xabi’s interest in Celtic music came fully to the fore with “KeltiK” (2016), an album dedicated to Atlantic musical traditions and shaped by international collaborations as well as his own production.
With “Bost” (2019), his fifth release, he further established his position on the music scene. The album’s success led to an appearance at WOMEX in 2020.
On the live album “Aurrez Aurre” (2021), he celebrated two decades of his career, revisiting some of his most significant and recognisable compositions.
In November 2025, he released his seventh album, “Bask”, an entirely original work that showcases the full range of his creative and interpretive abilities and opens up new horizons for the trikitixa.
He has composed music for various institutions and stage projects, including Migratzaileak (2022), as well as for other artists. He has performed around the world, including in Canada, Argentina, Greece, the Czech Republic, Ireland, Denmark, the United States, Japan and elsewhere. His work has earned him numerous awards and accolades.
Xabi Aburruzaga most often performs with a six-piece ensemble, but also appears in smaller line-ups, sharing the beauty and richness of the Basque tradition with audiences with equal expressiveness and intensity.
Xabi Aburruzaga is coming to Serbia for the first time. His trio’s debut performance in the country will take place on 24 September 2026 at Karmakoma in Belgrade, as part of the 14th “Todo Mundo” Festival.
The Xabi Aburruzaga Trio concert is supported by the Embassy of Spain, and PICE Programme for the Internationalization of Spanish Culture.
Almir Mešković/right i Daniel Lazar/left (photo: Elisa Bates)
Almir Mešković, an accordionist from Bosnia and Herzegovina, and Daniel Lazar, a violinist from Serbia, are a musical duo whose distinctive sound brings together classical musical training, Balkan musical heritage and a contemporary approach to original composition.
Mešković and Lazar met while pursuing their Master’s degrees in classical music at the Norwegian Academy of Music in Oslo. Their encounter as two musicians with strong classical backgrounds opened up a space for them to explore the musical traditions they come from and to develop their own original repertoire.
A large part of the duo’s programme consists of original compositions inspired by the musical traditions of Serbia, Bosnia and Herzegovina and Romania. Traditional melodies, rhythms and modes are not something they seek simply to reproduce, but rather a starting point for creating a new musical language. Their sound has also been shaped by years of living and working in Scandinavia, whose influences naturally intertwine with their Balkan musical heritage.
At the heart of Mešković and Lazar’s performances is the dialogue between accordion and violin, as well as a constant exchange between composition and improvisation. Their concerts range from intimate and subtle passages to virtuosic and energetic sections, with spontaneity and attentive interplay allowing the music to evolve from one performance to the next.
The duo’s work has received significant international recognition. In 2025, they won the “UPBEAT Best New Talent Award”, a European award supporting and showcasing some of the most promising emerging artists on the world music scene. They are also recipients of the “Jeunesses Musicales International Award for Best Concert for Young Audiences”, recognising their work in creating engaging musical experiences and connecting with younger audiences.
The music of Mešković and Lazar has also achieved notable results on international world music charts, reaching No. 1 on the “Balkan World Music Chart”, No. 5 on the “World Music Charts Europe” and No. 7 on the “Transglobal World Music Chart”.
They have so far materialised their distinctive artistic expression, which transcends clear genre and geographical boundaries, on two albums: “Roots” (2018) and “Family Beyond Blood” (2023).
The duo of Almir Mešković and Daniel Lazar will perform at the closing night of the 14th “Todo Mundo Festival”, on 25 September 2026 at Club Karmakoma in Belgrade. This will be their second appearance at “Todo Mundo”, following their debut at SKC Belgrade on 2 October 2019, as part of the 8th “Todo Mundo Festival”.
Their Belgrade concert is made possible with the support of Music Norway, Kulturrådet, Fond for utøvende kunstnere and the Upbeat platform.
For more than twenty years, Fanfara Complexa has been taking audiences on a wild musical journey through Romanian, Roma, Hungarian, Macedonian, Bulgarian and Jewish melodies from Moldova, Romania and the Balkans.
The band members developed their instrumental skills under the guidance of some of the finest traditional masters among Romanian and Moldovan Roma musicians, helping them create a distinctive Balkan sound that now resonates far beyond the Balkans.
Their music combines pure tradition with the authentic spirit of celebration found at Moldovan village festivities, both past and present. Fanfara Complexa is an exceptionally energetic, spontaneous and spirited “little brother” of Romanian brass bands – and one of the favourites of Budapest’s traditional music revival scene.
The band has released three albums to date, all issued by Fonó Budai Zeneház: “Radio Popular” (2011), “Tánc Alá” (2016) and “Pașaport Control” (2024).
The band members are: Bede Péter (alto saxophone), Babcsán Bence (alto saxophone, clarinet, vocals), Sófalvi Kiss Csaba (tenor saxophone), Salamon Soma (accordion, kaval, vocals), Réti Benedek (accordion), Molnár Bálint (cobza) and Benke Felix (percussion).
Fanfara Complexa are coming to Belgrade for the first time. Their debut performance in the Serbian capital will take place on 24 September at Karmakoma Club in Belgrade, as part of the 14th “Todo Mundo Festival”.
The Fanfara Complexa concert is supported by Collegium Hungaricum Belgrade.
Branko Džinović is an accordionist and bandoneon player whose artistic work is rooted in contemporary repertoire, as well as in exploring different performance traditions and the expressive possibilities of both instruments.
As an accordionist, he has built a distinguished international career, performing at prestigious concert venues including the Kennedy Center in Washington, D.C., and Lincoln Center in New York. He holds a Master’s degree in accordion performance from Anton Bruckner Private University in Linz and a PhD from the University of Toronto.
Austrian critics have described his performances as “eruptive” (Kronen Zeitung) and “inventive” (Neues Volksblatt).
A particular focus of Džinović’s artistic work is the bandoneon and the performance of tango repertoire. During his time in Buenos Aires, he collaborated with leading Argentine bandoneon players, including Ramiro Boero, Hugo Satore and Santiago Segret. In Canada, he has performed with the award-winning tango ensemble Payadora, while in Serbia he was a member of the ensemble Libercuatro.
As a bandoneon player, he performs both traditional tango repertoire and works by contemporary composers, bringing together his experience of the tango tradition with his long-standing engagement with contemporary music.
For the music he composed for the bandoneon for the Šabac Theatre production “The Two Gentlemen of Verona”, Džinović received the “Joakim Vujić” Theatre Award in 2020. In 2024, he appeared as a bandoneon soloist with the Belgrade Philharmonic Orchestra, performing “Six Scenes – Commentaries” by Zoran Erić.
Džinović has presented his tango programme at the Gallery of Matica Srpska in Novi Sad, at the invitation of the “Novi Sad – European Capital of Culture” Foundation, as part of the “Stanislav Vinaver Days” programme in Šabac, and at the Historical Museum of Serbia in Belgrade, as well as at numerous other concerts and cultural events.
Branko Džinović will perform at the 14th “Todo Mundo Festival” on 25 September 2026 in Belgrade, at Karmakoma Club, starting at 8 PM.
You can also order tickets by email: todomundofestival@gmail.com.
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September 24
Fanfara Compexa / Xabi Aburruzaga Trio
September 25
Branko Džinović / Draškoci Award Ceremony / Almir Mešković & Daniel Lazar
CIČIĆI
(Austria / Serbia / Slovenia)
Cičići (photo: Andrea Zabric)
CIČIĆI is a contemporary wind ensemble consisting of trumpeter Nikola Vuković and saxophonists Luka Zabric and Jure Boršič. The ensemble’s name represents an abstracted signature of its members, while also serving as a symbolic framework for their collective exploration of sound.
The group emerged from the idea of a wind ensemble that, through the use of instrument preparations and extended playing techniques, explores uncharted territories of sound and the acoustic phenomena of air, metal tubes, and space. Building on their individually developed improvisational practices, the members of Cičići intertwine their artistic approaches into a collective expression in which sound becomes an autonomous and central driving force.
In their work, the trio moves away from conventional and idiomatic approaches to wind ensembles, focusing instead on the layering and deconstruction of fundamental musical parameters such as melody, rhythm, harmony, and timbre. Their music evolves through the exploration of abstract and ambiguous soundscapes, where improvisation and experimentation play a central role.
Cičići cultivate a distinctive artistic voice that blurs the boundaries between composition and improvisation, opening space for new listening experiences and redefining the relationship between performer, instrument, and sound.
Cičići will perform in Serbia for the first time. Their premiere appearance in the country will take place on May 20, 2026, in Belgrade, at the Jewish Cultural Center, as part of the opening of the 30th anniversary edition of the “Ring Ring” festival.
The concert by Cičići is supported by the Austrian Cultural Forum Belgrade and Jazz Cerkno.
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LINE-UP
Nikola Vuković: trumpet
Luka Zabric: alto saxophone
Jure Boršič: alto saxophone, soprano saxophone, clarinet
The ensemble NEUE VOCALSOLISTEN consists of seven distinct vocal personalities – from coloratura soprano to countertenor to deep bass – who continuously explore new forms of vocal expression through collaborations with artists working in composition, poetry, video, conceptual art, and theatre. They increasingly collaborate with artists who engage with the possibilities of digital media, driven by a desire for connectivity, playful cross-genre exchange, and the dissolution of boundaries in space, perspective, and function. The ensemble’s work is focused on vocal chamber music theatre, with hundreds of works composed specifically for them.
An equally important aspect of their work is their engagement with diverse musical cultures. With curiosity, empathy, and virtuosity, the singers give voice to a wide range of artistic approaches, emphasizing cultural richness and diversity. Alongside numerous international guest performances, they regularly present masterclasses in singing and vocal composition.
They see it as a vital mission to encourage and support fellow artists, providing them with the space to express their creative ideas and artistic aspirations.
In recognition of their distinctive artistic work, the ensemble Neue Vocalsolisten was awarded the “Silver Lion” at the Venice Biennale in 2021, as well as the Italian Critics’ “Prize Premio Abbiati” in 2022.
At a full-length concert – premiering outside their home country – the ensemble Neue Vocalsolisten will perform the program “Balkan Affairs”, featuring new works by young composers from the former Yugoslav region. The concert will take place on the fourth evening of the 30th anniversary edition of the “Ring Ring” Festival, at the Jewish Cultural Center, on May 23, 2026, starting at 9 PM.
The concert of the Neue Vocalsolisten ensemble is supported by the Ministry of Science, Research and the Arts of Baden-Württemberg and the Goethe-Institut Serbia.
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LINE-UP
Johanna Vargas: coloratura soprano
Helena Sorokina: mezzo-soprano
Susanne Leitz-Lorey: soprano
Daniel Gloger: countertenor
Martin Nagy: tenor
Guillermo Anzorena: baritone
Andreas Fischer: bass
SAMBA TOURÉ is a prominent guitarist and singer from Mali, known for his hypnotic guitar lines and expressive vocals that carry a strong imprint of Northern Malian musical tradition. His music blends Songhai heritage with blues, rock, and contemporary influences, creating an authentic sonic landscape where tradition and innovation meet.
He began his career with the group Farafina Lolo, and a key turning point came through his encounter with the legendary Ali Farka Touré, with whom he toured internationally and who produced his debut album “Fondo”. Over the years, Samba Touré has developed a distinctive style, performing worldwide and collaborating with numerous acclaimed artists.
His subsequent albums, all released on the respected label Glitterbeat – such as “Albala” (2013), “Gandadiko” (2015), “Wande” (2018), and “Binga” (2021) – combine social engagement with personal themes. For “Binga”, he received the prestigious “Songlines Music Awards” for Best Artist in 2021.
His latest release, “Baarakelaw” (2024), is dedicated to the everyday people of Bamako, featuring emotionally rich and socially conscious songs that transcend local contexts.
Regarded as one of the key heirs of Malian musical tradition, Samba Touré continues to develop a distinctive artistic voice that builds on his mentor’s legacy while pushing it into contemporary directions.
The concert by Samba Touré at the closing night of the 30th anniversary edition of the “Ring Ring” Festival at Karmakoma club on May 24, 2026, marks the artist’s premiere in Serbia. The evening will open with a performance by the Franco-Polish quartet Lumpeks.
LUMPEKS is a Franco-Polish quartet exploring the space between jazz and the traditional dance music of central Poland. The band is known for its energetic and free approach, in which folk motifs are transformed through improvisation and a contemporary jazz language.
Their debut album “Lumpeks” (Umlaut Records, 2020) was met with strong critical and audience acclaim, standing out as a bold and inventive interpretation of Polish musical heritage.
An important aspect of the group’s work is field research: the material for the album “Polonez” (Umlaut Records, 2023) was collected in 2021 directly from rural musicians in central Poland, particularly in the Radom region, and later reinterpreted through a contemporary musical lens.
They are winners of the Polish Radio “Nowa Tradycja” festival award (2019). Critics describe their music as if an avant-garde jazz quartet had emerged from Polish tradition, highlighting their freedom, courage, and intuitive approach.
The Lumpeks concert on the final, fifth evening of the 30th anniversary edition of the “Ring Ring” Festival, at Karmakoma club on May 24, 2026, starting at 8 PM, marks the band’s premiere appearance in Serbia. The festival will conclude with a performance by Malian artist Samba Touré.
The concert by Lumpeks is supported by the Polish Institute in Belgrade.
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LINE-UP
Louis Laurain: trumpet
Pierre Borel: saxophone
Olga Kozieł: baraban (bass drum with cymbal), bębenek obręczowy (frame drum), percussions, alto saxhorn, voice
Sébastien Beliah: double bass
CNT: Pierre Bastien & Louis Laurain (photo: Arsenio Quichotte)
CNT is a long-term improvisational duo consisting of French musicians and sound researchers Pierre Bastien and Louis Laurain. The project emerged from a shared interest in expanding the possibilities of the trumpet (cornet) and transforming it into a polyphonic, rhythmic, and electroacoustic instrument, through an approach that blurs the boundaries between composition, improvisation, and performance.
The name CNT has multiple meanings: it refers to the abbreviation for “cornet” in jazz notation, but also to the historical anarchist organization Confederación Nacional del Trabajo. In the context of the duo, CNT also becomes a metaphor for “a group of two people playing a single instrument with four hands”, expanding its function to the limits of sound, body, and mechanics.
In their work, the trumpet/cornet is no longer a traditional melodic instrument, but becomes a complex sound system in which both hands play an equal role: one controls the tone, while the other adds percussive, noisy, and mechanical layers. In this way, a unique musical language emerges, based on physical performance and the continuous transformation of sound.
Pierre Bastien is an internationally recognized composer, inventor of sound machines, and pioneer of experimental music, known for his work with mechanical instruments built from various mechanisms and objects, as well as for collaborations with artists such as Robert Wyatt, Issey Miyake, and Aphex Twin. Louis Laurain is a trumpeter whose work spans contemporary and experimental music, improvisation, and electroacoustic practices, with numerous international collaborations and an active presence on the European improvised music scene.
CNT develops music situated between improvised orchestration, noise aesthetics, and extended instrumental techniques. Their sound ranges from delicate microstructures and rhythmic pulsations to dense, orchestral layers created in real time, without relying on traditional compositional forms.
The duo’s debut album “C(or)N(e)T” (2025) was created during a residency and released by an independent label, as the result of years of research into the physical and sonic limits of the trumpet as an instrument. Although CNT already has a recorded release, their work primarily evolves through live situations and performances, where the music is shaped as an open process.
CNT is a project that explores how a single instrument can become an entire ensemble, how the body can become an orchestra, and how improvisation can function as a continuous re-examination of sound, space, and the physical act of playing.
The CNT duo’s performance in Serbia, at the end of the third evening of the anniversary 30th “Ring Ring” Festival at the Jewish Cultural Center on May 22, 2026, marks their concert premiere in Serbia. They will perform after the concert of the duo Ilia Belorukov and Nenad Marković, on the same evening.
The CNT concert is made possible by the French Institute in Serbia.
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LINE-UP
Pierre Bastien: cornet, electronics
Louis Laurain: cornet, electronics
The duo of ILIA BELORUKOV & NENAD MARKOVIĆ was formed shortly after their first meeting and conversation in June 2023. Both are established artists in their respective fields. Ilia Belorukov is known for his work on alto saxophone and modular synthesizer in the context of improvised and electroacoustic music, as well as for collaborations with hardcore and metal bands, ambient and rock artists, and for his involvement in contemporary dance and theatre. Nenad Marković is one of the most active trumpeters on the contemporary and classical music scene, with more than 200 world premieres to his name, and also an experienced improviser.
Within the duo, Belorukov and Marković explore the similarities and differences between their instruments, building a contemporary improvised language based on attentive listening to the nuances of noise, drones, and microtonal structures that both instruments can produce. Their music evolves through a dynamic dialogue—sometimes merging into a single sonic mass, at other times entering tensions and contrasts that open up new layers of sound.
Critics have highlighted the striking contrast between the “human” breath of the trumpet and the “alien” sonic world of the modular synthesizer, which in their interpretation develops into a complex and unpredictable dialogue. The duo’s interaction remains constantly alive and inventive, balancing between layered, dark soundscapes and moments in which either instrument seems capable of suddenly taking over and steering the music in an entirely new direction.
During several studio sessions in 2023/2024, the duo recorded material for the album“Signs of Suspicious Activity”, released in June 2025 by the Spanish label Hera Corp in cassette format. Although this is their first official release, they have not yet performed live—however, their upcoming concert on the opening night of the third evening of the anniversary 30th “Ring Ring” Festival will mark their debut performance in front of an audience, making it a world premiere. The concert is scheduled for May 22, 2026, at the Jewish Cultural Center, starting at 8 p.m. They will be followed later that evening by another duo: CNT (Pierre Bastien and Louis Laurain).
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LINE-UP
Ilia Belorukov: modular synthesizer
Nenad Marković: trumpet, mutes
PORAVNA TRIO, led by VESNA PISAROVIĆ, brings together musicians from Germany, Croatia, Australia, and France in a distinctive musical world where the sevdalinka tradition meets contemporary improvisation. The result is music that is at once intimate, melancholic, and resistant to genre classification.
Rooted in a personal relationship to sevdah – particularly the so-called poravna song form – Pisarović shapes a repertoire that treats tradition not as a fixed form, but as a space for new readings and reinterpretation.
The material for the eponymous album“Poravna” was recorded in Berlin and Zagreb between 2020 and 2022, and released in mid-2025 by PDV Records.
While the album features an expanded ensemble, with which the artist also performs, the Belgrade concert presents Poravna in a trio formation with prominent figures of the contemporary music scene: drummer Tony Buck and guitarist Noël Akchoté.
Their performance on the second evening of the 30th anniversary edition of the“Ring Ring”festival, at the Czech Centre on May 21, 2026, marks the concert premiere of Vesna Pisarović and the Poravna Trio in Serbia. They will perform right after the duo of Jasna Jovićević and Predrag Okiljević.
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LINE-UP
Vesna Pisarović: vocals
Tony Buck: drums
Noël Akchoté: guitar
Jasna Jovićević & Predrag Okiljević (photo: Nikola Lučić)
Two artists on three saxophones, JASNA JOVIĆEVIĆ AND PREDRAG OKILJEVIĆ, form an ensemble dedicated to real-time improvisation and attentive, active listening. Both have many years of experience in free jazz and contemporary improvised music, where extended instrumental techniques and sonic exploration constitute a key part of their artistic language.
The music of Jasna and Predrag emerges through spontaneous interaction, without pre-composed material. Their focus lies on subtle sonic phenomena – breath, texture, silence, and time – through which they respond to one another and to the space and its acoustic properties.
Each performance is a unique sonic event, shaped by the relationship between the two performers, the space, and the unpredictable conditions of the moment.
The concert by Jasna Jovićević and Predrag Okiljević on the second evening of the 30th anniversary edition of the “Ring Ring”festival, held in Belgrade at the Czech Centre on May 21, 2026, marks their premiere performance in Serbia.
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LINE-UP
Jasna Jovićević: alto and soprano saxophone
Predrag Okiljević: tenor saxophone
FRED FRITH, born in 1949 in England, is one of today’s leading authorities in free, avant-garde, experimental, and improvised music. He began his progressive musical journey with the band Henry Cow before moving to the United States in 1978, where he continued his career as a guitarist and later as a professor at Mills College.
An innovator, improviser, and leader of numerous ensembles, Frith has become one of the most influential guitarists of his generation, exploring a wide range of genres including jazz, folk, and blues. As a composer, he is also recognized in film, dance, and theatre.
To date, Frith has released 87 albums of improvised and applied music, in addition to numerous guest appearances and contributions to compilations. He has collaborated with some of the biggest names in avant-garde music, including Robert Wyatt, John Zorn, Brian Eno, Iva Bittová, and many others.
At 77 years old, Frith shows no signs of slowing down – he currently has over 40 performances scheduled for the first half of 2026 alone.
In an email to the organizers, Frith wrote: “I dreamt that you contacted me to ask about Ring Ring2026, but I could find no trace of this. I tried to contact you via the Ring Ring site but never received a reply. In any case, if this was not a dream and you are interested in me doing a solo at Ring Ring this year, I would be happy to oblige!”
Jazz critic Vojislav Pantić, reviewing Frith’s performance at the 10th Ring Ring (Popboks, May 27, 2005), wrote: “Here, however, there is no pretense – you see a living man, you see him do all this before you, and you wonder – can small balls, shot, or yellow sugar (I tried to see what it was, and I’m still not sure) that Frith takes out of a tin really make a bunch of magnets and strings play, shaping organized sound?”
Reflecting on the first 15 years of the festival, Vladimir Skočajić – Skoča (B92, May 12, 2010) noted: “…in a packed Rex, the legendary Fred Frith performed (among the audience was also Rambo Amadeus), visually showing us like a magician revealing his tricks how the sounds that marked the second part of his career are created.”
Frith has previously performed in Belgrade twice, in July 1987 and May 2005. His return to Serbia after two decades represents an event that fans should not miss.
Fred Frith has previously performed in Belgrade twice – in July 1987 and in May 2005 (at the “Ring Ring” festival). His return to Serbia in concert after two decades represents an opportunity the audience should not miss. His solo concert will take place on May 20, 2026, in Belgrade, at the Jewish Cultural Center, opening the jubilee 30th edition of the “Ring Ring” Festival, following the performance of the Cičići trio.
Dj Click, nicknamed “Dj SUV” or “General” is a restless explorer of global rhythms, from Indian tablas in Rajasthan to gypsy music around Bucharest, Gnawa lilas in Essaouira, and fiestas gitanas in Sevilla.
Whether solo or with his musicians, he creates feverish, captivating performances for audiences everywhere. Pioneer of the Global Bass scene and founder of the No Fridge label, he has produced over 40 albums with artists including Rona Hartner, Gnawa Njoum Experience, Hamadcha de Fés, and Masha Natanson.
He has also collaborated or remixed Manu Chao, Watcha Clan, Mahala Raï Banda, Dhoad Gypsies of Rajasthan, Rachid Taha, and many others.
Traveling the world with his turntables and mobile studio, Dj Click continuously explores, records, and invents new musical encounters, moving audiences beyond borders.
DJ Click is coming to Serbia for the fifth time. His performance will take place on September 28 in Belgrade, at Karmakoma Club, during the 13th “Todo Mundo Festival”.
Previously, he has performed in Serbia at “Exit” in Novi Sad (2007, 2008), in Guča (2009), and at “Kustendorf” (2021).
DJ Click’s concert in Belgrade is made possible with the support of the French Institute in Serbia.
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LINE-UP
DJ Click: DJ controller, turntables, theremin, Jew’s harp
Jelena Popržan is a charismatic and vocally expressive violist, singer, and sound artist from Serbia, who has brought fresh vitality to the Austrian music scene through projects like Catch-Pop String-Strong, Sormeh, and Madame Baheux. Among her newest projects, alongside her acclaimed solo program “La Folia”, is the JELENA POPRŽAN QUARTETT, a venture she’s been nurturing since its concert debut at the “Glatt & Verkehrt” festival in Krems in 2021.
The quartet is formed by three renowned figures from the Austrian jazz scene: Christoph Pepe Auer, Clemens Sainitzer, and Lina Neuner.
Jelena discovered the poems of Polish-Viennese poet Tamar Radzyner (1927 – 1991) in a publication by the “Theodor Kramer Society”, which deeply moved her. Radzyner, a Polish Jew who survived the Shoah and participated in armed resistance, later found a home in Vienna and in the German language. She worked with figures like Georg Kreisler and Topsy Küppers. Her poetry, marked by a blend of wry humor and bittersweet pessimism, left a lasting impression on Jelena.
In tribute, Jelena has crafted a song cycle as a musical homage to Radzyner. However, the majority of the program is dedicated to Jelena’s brand-new instrumental compositions, which feature rich sonic imagery and melodic storytelling.
In September 2022, the Jelena Popržan Quartett released their self-titled debut album.
Jelena Popržan Quartett’s concert at the “Pocket Globe” Festival will mark their debut performance in Serbia!
This event is supported by the Austrian Cultural Forum in Belgrade.
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POSTAVA KONCERTA
Jelena Popržan: viola, voice
Lina Neuner: double bass
Clemens Sainitzer: violoncello
Richie Winkler: clarinet, alt saxophone
🔗 LINKS
Jelena Popržan: Website ǀ Jelena Popržan: Facebook ǀ Album “Jelena Popržan Quartett”: Bandcamp
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TEIJA NIKU
(Finland)
Teija Niku (photo: Antti Kokkola)
TEIJA NIKU is a Finnish accordionist, known for her expertise in Nordic and Balkan folk music. She has been described as a composer with an excellent sense of melody, as well as an inventive arranger, and her lyrical style of playing the accordion transcends technical accomplishment or pose.
In the summer of 2019, Ääniä Records released Niku’s third solo album “Hetkessä”, which features the artist in a truly solo performance. The wide range of registers, as well as the dynamic and technical possibilities of the accordion, combined with in-the-moment improvisations, form the foundation of the music, which is entirely composed, arranged, and recorded by Niku herself. Hetkessä received glowing reviews and airplay across Europe.
Since 2022, Niku has been working on new music, supported by a three-year artist grant awarded by the National Council for Music in Finland.
Teija Niku’s performance at the “Pocket Globe” festival marks her debut concert in Serbia!
This concert is supported by the Sounds of Europe project.
MANIUCHA & KSAWERY is a duo that uniquely combines jazz improvisation with the traditional, endangered songs of the Polissya region in Ukraine. In their compositions, they evoke spring, wedding, and love songs, as well as lullabies, weaving them into narratives that trace the cycles of nature and human life. Their music tells tales that cross eras and genres, drawing from Maniucha’s years of traveling to meet Ukrainian village singers, along with their shared musical imagination.
In their concerts, they not only sing and play but also share the stories and folklore connected to their repertoire.
Maniucha Bikont is a vocalist, musician, and anthropologist who has conducted numerous field recordings in Poland, Ukraine, and Russia. She is a member of various music and theater groups dedicated to traditional music, rituals, improvisation, and unconventional vocal techniques. She sings and plays the tuba with Tęgie Chłopy and collaborates with groups like Janusz Prusinowski Kompania, along with jazz and avant-garde musicians.
Ksawery Wójciński is a double bass player and composer, known for his broad musical sensitivity and adventurous experimentation. His range spans early music to sophisticated contemporary improvised music, and he has collaborated with musicians like Charles Gayle, Satoko Fuji, Ken Vandermark, and Mats Gustafsson.
The album “Oj borom, borom…” (2017) by Maniucha & Ksawery is a layered narrative rooted in ancient songs from Western Polissya. Traditional songs, tales, and fairy tales are the starting point for a dialogue of voice and double bass, which serve as equal storytellers. The bass doesn’t merely accompany the voice; it narrates its own stories and engages in dialogue with the voice, creating a fluid, balanced musical exchange. In this process, traditional and improvised music emerge as kindred languages, as if they were local dialects of a shared musical language.
The duo’s performance at the “Pocket Globe” Festival will be their debut in Serbia!
This concert is supported by the Sounds of Europe, the Polish Institute in Belgrade, and the Adam Mickiewicz Institute.
Hiram Salsano & Marcello De Carolis (photo: Vito D’Andrea)
The music project “Fronni D’alia” was born from the meeting of Hiram Salsano’s young yet ancient voice and Marcello De Caroli’s modern, virtuosic chitarra battente.
Together, the two artists fully express the sonic and evocative potential of the sounds and rhythms of southern Italy. Their musical exploration merges tradition with original compositions, enhanced by the use of loop stations.
Each note, like a gentle breeze, caresses the soul, carrying the sounds of narrative songs, serenades, and work chants across the landscapes of southern Italy. At the same time, the driving rhythms convey strength and vigor, echoing the resilience and passion of a community that has lived its history with tenacity.
HIRAM SALSANO, an independent ethnographic researcher from Cilento (Salerno), explores the voice as an instrument and plays southern Italian frame drums (tammorra and tamburello). In 2023, she released her debut album, “Bucolica. In 2024, her ethnographic research book “Chi fa ammore va Camminanne was published. She has earned several prestigious Italian awards for her contributions to the world music scene.
MARCELLO DE CAROLIS is an artist specializing in the chitarra battente. His recordings include “The Eclectic Beating – Contemporary Music for Chitarra Battente”, “Venti” (with Francesco Loccisano, a project selected for the official Womex ’23 lineup), and “Cordaminations” (with Luca Fabrizio). In 2019, he co-authored “La chitarra battente – Metodo Base” with Francesco Loccisano, the first beginner’s method for the chitarra battente.
Salsano’s and De Carolis’s concert at the “Pocket Globe” Festival will be their debut performance in Serbia!
This event is supported by the Italian Cultural Institute of Belgrade.
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CONCERT LINEUP
Hiram Salsano: voice, frame drums, Jew’s harp, loop station
Marcello De Carolis: chitarra battente, loop station
Offering polyphonic creations rooted in traditional song, the trio SAMAÏA creates a sound that is entirely their own, woven from harmonies, drones, and polyrhythms. Their voices, solidly anchored in the earth, reinvent traditional stories of Eurasia. Their repertoire draws from traditions dear to each of the three singers and honors the regional languages of France (Occitan and Breton), as well as other regions of Europe and the Middle East.
Their music is a powerful blend of their different life journeys:
Eléonore Fourniau, a specialist in Kurdish and Anatolian music, lived in Istanbul for six years to study languages and music, focusing on singing and the saz. With her powerful voice and unique style of playing the hurdy-gurdy, drawing inspiration from various stringed and wind instruments, she has won over Kurdish audiences and a wider global following;
Noémie Nael, a singer-songwriter in the French chanson tradition, trained as an actress before turning to singing and songwriting. She began composing and performing her own songs, accompanied by Joël Simon on piano. In 2017, her singing career took a leap with the creation of Trio Samaïa;
Luna Silva, a singer-songwriter of folk/world music, is the daughter of an English actress and a Spanish circus clown and grew up immersed in diversity and travel. Trained as an ethnomusicologist, she journeyed around the world, making it her open-air conservatory. Her passion lies in exploring various vocal techniques, which she incorporates into her songwriting.
The name “samaïa” comes from a traditional Georgian dance performed by three women, symbolizing the different facets of Queen Tamar: the young princess, the wise mother, and the all-powerful sovereign.
On stage, the three expressive singers accompany themselves with percussion and the hurdy-gurdy. They offer an intimate performance that is both moving and refreshing, leaving no one untouched.
Their second album, “Traversées”, celebrates life and its challenges through stories from various rural traditions across Eurasia. Each song narrates a rite of passage, a welcome, a farewell, a plea, or a celebration.
Their concert at the “Pocket Globe” Festival will be their premiere performance in Serbia!
This event is supported by the French Institute in Serbia.
ANA ALCAIDE is a musician and composer from Toledo, Spain, known for her research on ancient traditions and cultures. She is one of the most recognized Spanish artists in the folk and world music scene.
Alcaide has performed her music at major festivals, theaters, and venues across Spain, Portugal, France, Italy, Germany, Morocco, China, Malaysia, Tunisia, Canada, Bulgaria, Indonesia, Estonia, Switzerland, Hungary, South Korea, the United Arab Emirates, the UK, Uzbekistan, Argentina, Uruguay, and more – over 600 concerts on four continents!
She has played a pioneering role in introducing and popularizing the nyckelharpa in Spain. Rooted in ancient traditions yet distinctly modern, her compositions blend musical styles from various cultures with finesse. Inspired by the city of Toledo, Ana writes and produces her songs, crafts new arrangements, and adapts the nyckelharpa to ancient melodies from medieval Spain that have traveled throughout the Mediterranean region. In recent years, her personal and artistic evolution has led her to explore new creative territories.
In Novi Sad, Ana Alcaide will perform her “Essentia” program, alongside her husband, Bill Cooley, a multi-instrumentalist originally from the USA.
Ana Alcaide’s concert at the “Pocket Globe” Festival will mark her premiere performance in Serbia!
This event is supported by the Embassy of Spain in Serbia.
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CONCERT LINEUP
Ana Alcaide: vocals, nyckelharpa, Hardanger violin
Bill Cooley: oud, psaltery, bouzouki, bass pedal, programming
CONFERENCE “ROMA PEOPLE AND MUSIC: FREEDOM, ADAPTATION, TAKING OVER”
International Conference “Music on the Move“, Todo Mundo Festival, Belgrade, RTS Club – Radio Belgrade, 2022 (photo: Vladimir Milisavljević)
The CONFERENCE “ROMA PEOPLE AND MUSIC: FREEDOM, ADAPTATION, TAKING OVER” will be held at the Jewish Cultural Center “Oneg Shabat” (Jevrejska 16) on September 22, 2024, starting at 11 AM.
The conference will feature SPEAKERS from nine European countries: Ciro De Rosa (Italy), Maša Vukanović (Serbia), Christian Pliefke (Germany), Dragan Ristić (Serbia), Martyna Van Nieuwland (Netherlands/Poland), Tcha Limberger (Belgium), Júlia Kozáková (Slovakia), Dušan Sviba (Czech Republic), Marija Dumnić Vilotijević (Serbia), Anti Kovács (Hungary), and Marija Vitas (moderator/Serbia).
The Roma are undeniably a very attractive topic for artists and their audiences, as well as for scholars and a wider circle of people. This has been the case for a long time, and it is still true today. The Roma are a theme through which various elements, interpretations, and stereotypes intersect: truths, falsehoods, assumptions, imagination, idealization, belittlement, and assumed associations with certain talents and temperaments…
At the top of the most common associations with the Roma are music and passion. The proverbial connection of the Roma with music (and dance), as well as the presumed need for freedom in behavior and expression (of passionate) feelings, has inspired numerous artistic music names from different eras: Tartini, Haydn, Beethoven, Brahms, Bizet, Liszt, Sarasate, Dvořák, and others. Their compositions inspired by the imagined or real life and creativity of the Roma are generally extremely attractive to audiences, both from past centuries and contemporary ones. One reason for this perception and taste lies in the fact that the Roma are a paradigm for freedom and overcoming social boundaries and demands, which can be found as at least a latent, inherent need in almost every human being.
This very story of freedom carries a question mark… Are the Roma really the embodiment of freedom and some kind of social relaxation, considering the strongly patriarchal environment in which they have functioned for centuries up to the present day?
Aren’t the Roma actually quite framed by patriarchy and superstitions that largely shape their lives? Do we perhaps recognize freedom in the Roma because they have long lived a different way of life, which is not free, but precisely – different?
In addition to various dilemmas and themes related to the Roma and the question of freedom, there are also several issues concerning the Roma in music. In Serbia, the attitude of the non-Roma population towards Roma musicians has often been ambivalent – from admiration for their ability and openness to various types of music to some derogatory views, characteristic of the past (in the 19th century and the first decades of the 20th century, more often in smaller communities), where music was considered an unworthy “Gypsy job” or certain instruments (e.g., the violin) were seen as typically “Gypsy” and thus unsuitable for Serbs, Serbian peasants, Serbian children to play…
It is true that the Roma in Serbia have popularized music as a profession, as a craft, which is also the reason for their musical openness and ability to perform and combine different types of music. In the past, in Serbia, the Roma began to play Serbian music to approach the dominant people, to perform what they needed, loved, and wanted to hear for them as a reward.
In this process of adopting the foreign, they added something of their own to the foreign, some kind of temperament, sensibility, ornamentation in music…
The famous Vranje singer Stana Avramović Karaminga (1897 – 1969) once described the difference between the true, Vranje urban singing, which was “pure”, in which no melisma was allowed in the middle of the melody or at the end, as she believed applied to Roma singers when they performed Serbian, Vranje songs.
In the 1990s, primarily influenced by film art, the Roma seemed to become a synonym for the Balkans, Serbia, and the legacy of brass bands for the West (and not only the West). Although traditional Serbian music is rich and diverse, and despite the fact that Serbs themselves have a strong brass tradition spanning over a century, what makes Serbian music most recognizable to the rest of the world remains the Roma and Roma brass bands.
Today, the Roma continue to adapt to the needs of contemporary listeners, not only to the Serbian rural, urban, and city populations but even more to the listening habits of audiences in the West.
Hence, among today’s Balkan brass bands (Boban and Marko Marković, Džambo Aguševi, etc.), we observe an increasing tendency towards a pure, “polished”, and highly produced sound, as well as the use of various well-known motifs, i.e., quotes from pop, funk, rock, Latino, and other genres.
What is the current situation with Roma musicians today, in Serbia, Europe, and the world? How many Roma musicians and bandleaders are there, as well as international groups and non-Roma bands that don a Roma guise or in any way allude to the Roma? To what extent are the Roma turning to musical literacy and education today? What is the role and place of Roma women in music and on the contemporary music scene? What about the modern audience and their relationship to Roma temperament and creativity?
All these and many other anticipated and unforeseen questions will be discussed and debated at the carefully planned fourth conference organized by the Ring Ring Association.
The conference will bring together local and international, primarily music professionals, to provide insights from their perspectives – musical, managerial, organizational, scientific, ethnomusicological, ethnological, journalistic, and research – on the complexity of Roma life and work in society and the music world, both past and present, especially within the polygenre milieu known as world music.
With the support of the moderator of the conference, which will be divided into two sessions, a debate will develop among the participants, and at the end of each session, the audience will have the opportunity to ask questions, comment, and engage in lively discussion with the speakers.
The conference is supported by the Ministry of Culture of the Republic of Serbia, which has also supported all previous conferences organized by the Ring Ring Association: “Women in the World Music – Artists, Managers, Journalists…” (2021), “Music on the Move” (2022), and “Tradition Nowadays, in the World Music” (2023).
Admission to the conference is free.
TERNE ČHAVE
Terne Čhave, 2023 (photo: Dušan Sviba)
TERNE ČHAVE is considered probably the oldest active, and definitely one of the most well-known Roma bands in the Czech Republic. The band is famous for its distinctive sound that blends traditional Roma music of Central Europe with funk, rock, soul, ska, jazz, blues, and other influences.
Many years ago, these musicians have stood on their own feet, crossing the boundaries of the Roma ghetto. By bringing their gadjo friends among musicians and working with them together, Terne Čhave took confident steps into the big world.
Traveling across Europe, from the Czech Republic and Slovakia through Poland, Hungary, Italy, Spain, France, Germany, Benelux, to England and Scotland, wherever they perform, people happily dance along with them.
Today, Terne Čhave is a band that has transcended the phenomenon of genre boundaries, but their Roma roots provide a solid base for musical journeys to destinations that are too far for many.
The band is not burdened by questions of style, but they don’t leave the audience time to think about it either, as they are mostly stunned by the devilish pace of the group’s songs. Therefore, it’s no surprise that Terne Čhave’s slogan is: It’s only Rom’n’Roll!
The band ROMANO DROM (meaning “Gypsy’s Road” in Romani), today the most prominent representative of contemporary Roma culture in Hungary, was founded in 1999 by a father and son, both with the same name and surname – Antal Kovács. Father Antal Kovács has since passed away, but the group has continued to work and preserve the tradition, thanks also to the grandchildren who joined the band.
The group performs predominantly composed music by Antal Kovács Junior, based on tradition and roots, as well as the language of the Vlach Roma, but with distinctly modern arrangements and a contemporary concept that combines old Roma heritage with Catalan rumba, as well as Arabic and Balkan rhythms.
Romano Drom, a band whose every performance is marked by an eruption of musical energy, with moments of melancholy and warm emotion, boasts an international career with a series of concerts and tours in Europe, Asia, Africa, and North America. The band has released seven albums, with the latest being “Give Me Wine” (2019) – for the prestigious British label “Riverboat”.
At the “Todo Mundo” festival, the group will, with guest participation, present their special project marking 25 years of work.
The unique musical world of Romano Drom has brought them great success and made them one of the most sought-after global music ensembles dedicated to Roma heritage.
Lenhart Tapes feat. Tijana Stanković, 2022 (photo: Vladimir Opsenica)
Vladimir Lenhart, known by his stage name LENHART TAPES will happily drop Ethno-Noise on you, then leave you to work out what that might mean. You’ll have a pretty good idea after about a minute of the “Dens” album (Glitterbeat, 2023) - or indeed if you’ve spent any time in the Balkans generally, surrounded by folk music in all its incarnations, and in Belgrade specifically, which yields up the ghosts of the Yugoslav punk and industrial scenes of the 1980s and the city’s current experimental excursions to anyone with time to listen and explore.
Vladimir’s grandfather Ján was a popular interpreter of Slovak folk song in the 1950s, and the careful marshalling of national minority cultures in Yugoslavia produced a musical heritage that continues to resonate for those that have come after. Being younger, however, means that they have their own musical stories to tell and influences to work around.
Vladimir’s tapes-by-the-kilo, car-boot-sale approach is something familiar to turntablists and hip-hop artists, but it’s his love of industrial sound that’s key, producing a magical, beauty-and-the-beast encounter of dirty noise, improvised violin and righteous folk.
Lenhart Tapes is only one half of the story here, however. Enter Tijana Stanković: singer, classically trained violinist, ethnomusicologist and Radio Belgrade music editor. By Vladimir’s own admission, her encyclopaedic knowledge of the music he had grown up with turned the project from something somewhat ironic to something very sincere.
He recalls an immediate connection, over a shared love of that music, and it’s a connection that has since developed in perhaps unforeseen directions, with Tijana herself pushing Vladimir into an even more uncompromising sonic stance.
The slow burn of Lenhart Tapes’ emergence has been built upon a set of scorching small-venue performances, with Vladimir’s Walkmans laying down a collage of beat, noise and tune for Tijana’s voice and violin to respond to and, at times, work against. But if you think that makes them more of a live than a recorded proposition, you’d be wrong. A decade of sporadic releases, frequently on cassette, was followed by 2021’s “Duets”, a sweeping, sample-heavy progress report. Now comes “Dens”, which hits a different kind of stride.
The loops and samples of the previous record are still there, but are joined by an expanded roster of musicians. It’s denser, more considered, but still spacious; and it’s as rackety as Belgrade, one of Europe’s most intense capitals, but beautifully put together.
Lumpeks (photo: Hanna Linkowska)
