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Nextones 2026

Inhabiting Sound: Finding Ourselves in Places

In the Ossola Valley, a former granite quarry operates as one of Italy’s recognised music production centres. Tones Teatro Natura, redeveloped during the pandemic years, transformed a site of extraction into permanent cultural infrastructure. Two stages are embedded directly into rock.

Since 2019, the collaboration between Tones on the Stones Foundation and Threes Productions has positioned Nextones within this terrain as a research-driven platform for electronic and audiovisual practices. The festival does not circulate through neutral venues; it develops in response to geological scale and acoustic conditions.

This trajectory of immersive research follows a legacy of site-specific milestones at the quarry, including previous iterations by Richie Hawtin, Caterina Barbieri, and Nicolas Jaar, which established the site as a premier European stage for audiovisual dialogue. 

In a world that scatters us outward, NEXTONES demands we turn inward. The experience is anchored by sound that roots the body, landscapes that hush the mind, and a shared presence that reclaims our essence. This is a defiant return to what has always waited: ourselves, embodied and alive in the listening.

Nextones, in its thirteenth edition from 16 to 19 July 2026, reframes electronic and experimental music as a re-entry into the body, the mind, and the living organism of place.

The valley already carries its own rhythm, defined by granite quarries marked by labour, gorges shaped by water, and medieval hamlets suspended in partial restoration. Tones Teatro Natura remains the festival’s core. The site’s vertical rock walls shape acoustics in a way no temporary stage could replicate, allowing sound to amplify the body’s innate resonance with the earth.

Nextones has evolved into a recurring ecosystem. With a footprint that has grown to 5,000 attendees, the festival’s core is defined by 600 campers who treat the four-day itinerary as a collective immersion. The community moves from the early-morning radio broadcasts of the Nextones Camp to the narrow, rock-hewn corridors of the Orridi di Uriezzo.

The 2026 program unfolds across multiple sites. The festival’s inaugural ritual on Thursday, 16 July, centers on the fluidity of the Terme di Premia. Here, Miriam Adefris’s harp solo operates in tension with the baths’ acoustics, creating an immersive dialogue where water and humidity warp perception. This is a spatial ritual reclaiming our deepest pursuit: pure, unfiltered being.

On Friday and Saturday, the focus shifts to the Tones Teatro Natura, a former site of industrial extraction transformed into a permanent cultural forge. Embedded directly into the vertical granite, the stages amplify the audiovisual weight of the program: Carrier’s rhythmic minimalism expands against the rock’s mass, while John T. Gast’s site-specific set utilizes the quarry’s sheer scale as a physical instrument. OKO DJ develops an A/V performance drawing from As Above, So Below (Stroom, 2025), integrating electronics, acoustic instrumentation and film by Hajj.

Helena Hauff and OK Williams extend the club dimension of the festival with DJ sets grounded in acid, EBM, jungle and house, maintaining physical intensity within the open-air setting.

Sunday 19 July shifts toward the Nextones Camp, animated by Radio Banda Larga’s stage. The day includes live sets, broadcasts and shared activities, reinforcing the camp as daily meeting point.

Threshold sites expand the geography. Performances at the Orridi di Uriezzo integrate sound within narrow rock formations, while live sets at the abandoned village of Ghesc engage with architectural remains and historical memory.

By focusing on the micro-textures of the sediment rather than the panoramic spectacle, the 2026 visual identity, captured by Rachele Daminelli, underscores the festival’s true intent. The valley is not a backdrop, but a living organism. At Nextones, sound meets stone to redefine the map of Italian contemporary culture, proving that the most forward-thinking frequencies are often found in the most ancient foundations.

As one of the first Italian festivals to achieve ISO 20124 certification for sustainable management, the project views environmental stewardship not as a constraint, but as a core component of the artistic experience. 

Produced by Tones on the Stones Foundation and Threes Productions, and supported by national and regional institutions, Nextones continues to operate as a music production centre rooted in specific terrain. Here, in the Ossola Valley, sound meets stone. The encounter defines the experience.

Further artists to be announced.

Discover more information on tonesteatronatura.com
Tickets can be purchased via Dice.

Polifonic Festival 2026

Seismic Core: Puglia’s Limestone Forge

At dawn in Valle d’Itria, the bass reverberates across the landscape. Here, at Polifonic, the future is rooted in limestone and lived culture.

In Italy, the South has long been framed as image: coastline, ritual, nostalgia, summer. Narrated as origin yet treated as periphery, it is often romanticized while structurally sidelined, rarely positioned as generator of contemporary infrastructure. When Polifonic emerged in Monopoli in 2017, it did not “arrive” in the South as an external intervention. It surfaced from within it.

Cosmic disco flickered in Adriatic clubs in the 1970s. Neapolitan fusion, through figures such as Tullio De Piscopo and Pino Daniele, traced blues inflected pathways toward early house. In Salento, pizzica rhythms collided with sound system culture; Bari’s post-industrial voids hosted off-grid teknivals. Long before the Masseria party became an aesthetic, a southern continuum was already in motion, feeding off Europe’s underground from its margins.

Polifonic began in Puglia in 2017 to fuse electronic music’s raw energy with the region’s ancestral landscapes and “Mediterranean spirit.” Organizers chose the heel of Italy’s boot: its Adriatic beaches, olive groves, and trulli, creating an immersive counterpoint to European festivals. Monopoli’s shores hosted the debut as a boutique escape, blending house, techno, and disco with Puglia’s wind-whipped authenticity, instantly positioning the South as electronic music’s hidden pulse. This territorial bond, not coincidence, birthed a phenomenon that internalizes Puglia’s heritage into global infrastructure. The groundwork for electronic hybridity already existed. Polifonic recognized the frequency.

When the pandemic suspended physical gatherings, Polifonic extended that continuity through its record label, launched in 2021. Rather than pause, it translated territorial sound into material form. Vinyl became both archive and export channel, allowing Puglia’s club language to travel while its physical stages remained silent.

The project’s northward expansion, particularly through Milan’s City Echoes series, inverted the traditional Italian cultural hierarchy. Instead of the South migrating symbolically toward the center, the center began absorbing southern cadence.

For its 2026 edition, from 22 to 26 July in the Valle d’Itria, Polifonic presents a program that consolidates its curatorial standing within Europe’s electronic landscape and reaffirms the South as author.

A total of 63 artists will perform across three primary locations: Masseria Capece, Cala Maka and Le Palme Beach Club. The lineup unfolds as a single continuous narrative, traversing historic pioneers, international icons, visionary live acts and new trajectories of global club culture. Among the defining moments stands the b2b between Carl Craig and Moodymann, an encounter between two Detroit architects whose dialogue spans techno, house, soul and jazz, repositioned inside Apulian limestone.

Voices From The Lake inaugurates the Masseria chapter with a live performance on the Stone Stage, located inside the quarry itself. From Thursday onward, Masseria Capece hosts three consecutive days for the first time in the festival’s history, intensifying its territorial immersion. Artists rotate across four stages, allowing research-driven selectors such as Ben UFO, Lena Willikens, Prosumer, Craig Richards and Nicolas Lutz to coexist with live acts including Shackleton, A Guy Called Gerald, Chet Faker, Sola and Vardae.

The curatorial arc bridges experimental edge and club momentum: Djrum’s hybrid breakbeat architecture, Samaʼ Abdulhadi’s hypnotic techno rooted in identity, and Donato Dozzy’s Roman minimal lineage coexist with Tiga’s global imprint and MACE’s cross-disciplinary construction, where Italian production culture intersects with narrative electronic form. Projects such as Hiver presents Night Heron and Karnak On Acid extend the festival’s research-driven axis.

The closing returns to the sea at Le Palme Beach Club, sealing the five-day arc in a coastal atmosphere that reintroduces horizon and salt air into the circuit.

With the 2026 theme, Sensory Bloom, listening becomes physical again: light, space and sound calibrated to heighten perception. The experience circulates from individual body to collective organism.

This sensorial emphasis extends beyond music alone. Carefully designed stages, immersive installations and a curatorial focus on inclusivity and balance reinforce Polifonic’s identity as more than lineup.

From a 2017 Monopoli shoreline, the project has expanded through records, northern editions and international outposts, without severing its territorial anchor. Rooted at Masseria Capece amid trulli and olive groves, it continues to evolve as a Made in Italy structure with transnational reach.

What began on a southern shoreline now reverberates across cities that once defined the center. To recognize a frequency is to shift the map. And when the map shifts, culture follows.

Discover more information on polifonic.it
Tickets can be purchased via Dice.


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