Tenth installment in the series of interviews with festival artistic directors who approach music in a distinctive and highly interesting way, offering their unique perspective on the contemporary scene. First: Paolo Francesco Visci, artistic director of the ’IndieRocket Festival, Pescara (here). Second: Marek Lukasik, artistic director of the Lars Rock Fest, Chiusi (SI), (here). Third: Massimo Simonini artistic director of the AngelicA Fest, Bologna (here). Fourth: Lucia Ronchetti, at the time of the interview, artistic director of the 67° Festival Internazionale di Musica Contemporanea Micro-Music, Biennale di Venezia (here). Fifth: Alessandro Gambo artistic director of the festival Jazz is Dead!, Torino (here). Sixth: Chris Angiolini, artistic director of the Beaches Brew Festival, Marina di Ravenna (here). Seventh, Alessandro Luzi, artistic director of the Festival Mount Echò, Montecosaro (here). Eighth: Luca Benni, artistic director of the Festival Italian Party, Montone (PG) (here). Ninth: the Crew of Holydays Festival, Scopoli (PG) (here).
Today I am traveling “virtually” to Kristiansand, Norway, to interview Erik Honoré of the Punkt Festival. I discovered the festival while surfing the web, and I was immediately interested in its program and approach to music, which ranges from experimental to contemporary, and I immediately thought of a possible interview for Kathodik. Thanks to Erik Honoré, I was able to learn about the history, present, and future of the Punkt Festival.
Here you can find the Italian Translation
Let’s start from the beginning. How did the idea for the Punkt Festival come about?
Punkt was founded in Kristiansand in 2005 by musicians and producers Jan Bang and Erik Honoré. The original idea was to remix concerts, to perform an improvised reinterpretation immediately after the source concert. This became the concept of the Live Remix, which remains the heart of Punkt. The festival was conceived as both a laboratory and a meeting place for musicians working in the borderlands between improvisation, electronics, and sound art.
How is the Festival currently organized? How many people work there? How many volunteers?
Punkt is a small, curator-led festival run by a professional core team with Jan Bang and Erik Honoré as artistic directors. Around us is a dedicated production staff and a group of volunteers who assist during the festival days with stage management, artist care, and technical support.
When do you start thinking about and planning the festival program?
Programming is a year-round process. Ideas and conversations with artists start well in advance, and by early summer the lineup is usually confirmed. The curators see the program as a continuous dialogue rather than a once-a-year event.
How are the artists selected?
Most artists are invited rather than chosen through open submissions, although that also happens. Selection is based on artistic resonance with the Punkt aesthetic — a mix of experimental, electronic, ambient, and improvised music. The curators look for musicians who are curious about process and sound exploration, often pairing them with remixers to create new constellations. Over the years, Punkt has also invited guest curators like Brian Eno, David Sylvian and David Toop, who have brought their own perspectives and networks into the fold.
Which musical genres have you focused on and continue to focus on?
The festival focuses on adventurous, genre-crossing music. Its roots lie in improvisational music and electronics, but it also embraces leftfield pop, contemporary composition, and sound art. Acoustic and electronic practices are treated equally, and the program often includes artists who move between live performance, studio production, and installation work.
How is the Punkt Seminar structured?
The Punkt Seminar runs parallel to the concerts and is curated by David Toop. It gathers artists, writers, and scholars for talks, presentations, and performances exploring listening, memory, and sound art. The seminar is a space for reflection — a quieter counterpart to the concerts — and is developed in collaboration with the University of Agder’s CreaTeME research center. It usually takes place during the daytime, and is open to both professionals and the public.
How is the Live Remix Workshop structured?
The Live Remix Workshop is a hands-on educational program arranged together with CreaTeME. It introduces participants to the philosophy and practice of the Punkt Live Remix through:
– Technique sessions, where remix methods and tools are demonstrated;
– Aesthetic discussions, where participants explore how remixing can be an act of composition and interpretation;
– Collaborative playing sessions, allowing participants to perform and be remixed in real time.
The workshop gives young musicians and producers direct access to the Punkt team and festival environment.
Looking back, which editions of the Punkt! Festival do you think were the most memorable?
Several editions stand out. 2012, when Brian Eno was guest curator and even performed a Live Remix, is often mentioned as a milestone — a moment when Punkt’s concept gained international attention. Other editions featuring Jon Hassell, Gavin Bryars, David Sylvian and Laurie Anderson also shaped the festival’s identity. Many of these artists embodied the spirit of sonic exploration that Punkt champions.
Which ones were the most popular with the public?
Certain years have drawn exceptional attention — notably the 20th anniversary edition in 2024 and high-profile collaborations such as Eno’s 2012 appearance or Anderson’s 2014 program. Audience response tends to be strongest when the program combines familiar names with the festival’s signature experimental edge.
Do you use social media to promote and document the festival? If so, which ones do you prefer? Do you consider them necessary tools to help raise awareness of the Festival?
Yes. Punkt is active on Facebook, Instagram, and YouTube, and also releases recordings through Punkt Editions on Bandcamp. Social media serves as both a communication channel and archive — a way to share visuals, short performances, and the atmosphere of the festival with audiences worldwide. The team considers these platforms essential for maintaining the festival’s international community.
How is the Festival perceived by the Norwegian State? Are you rooted in the territory?
Punkt is deeply rooted in Kristiansand’s cultural landscape and is recognized nationally as one of Norway’s most innovative music festivals. It collaborates closely with local institutions such as Kunstsilo, Teateret, and the University of Agder, and receives regional and national cultural support. Although its reach is international, Punkt has maintained a strong sense of place and contributes actively to the city’s artistic identity.
On a related note, is the festival part of or has it been part of national and international networks?
Yes. Punkt is a member of the Europe Jazz Network (EJN) and has long-standing partnerships with academic and cultural institutions. Internationally, the Punkt concept has travelled to more than 30 cities — including London, Paris, Tallinn, Frankfurt, Düsseldorf, and Mannheim — where local artists collaborate with the Punkt team in Live Remix concerts. This traveling format has helped build a wide creative network rather than a formal festival franchise.
From the present to the near future: are you already thinking about names for the next edition?
Always. Planning is continuous, and some names are already confirmed for Punkt 2026 – but yet to be announced. The process of discovery never really stops — each edition grows naturally out of the one before it.
Link: Punkt Festival Home Page
Link: Punkt Festival Facebook Page
Link: Punkt Festival Instagram Profile
Link: Punkt Festival Youtube Channell
