Special info: CONCERTS & EVENTS in the times of the Corona Crisis

We are glad that, after the last months, during which most cultural events had to be cancelled or postponed as a result of the measures taken by the Swiss Federal Council in order to restrict the spreading of the coronavirus, live concerts are slowly coming back into our lives.

However, despite the official decision to allow events with above 1’000 visitors again as of October 2020, artists and concert organisers still have to deal with constantly changing and regionally differing measures – ranging from new limitations in the canton of Zurich, via registering-apps to mandatory mask-wearing or distancing rules in other places.

Therefore, we advise you to always check the official information of each event-location directly to inform yourself about the most accurate status and regulation of the concert you want to attend. Additionally, we would like to encourage every music-fan to use the Swiss Covid App, as we strongly believe that the more people act responsibly and observe the health-recommendations, the sooner we will succeed as a community to make attending social events secure again.

In the meantime, we are trying to keep you updated as good as possible about any changes in the corresponding artist & show information pages as well as via our social media channels.

Stay healthy, follow the recommended hygiene procedures and don’t lose your love for music!
Thank you, your team at Just Because.

Glass Museum Concert at Le Port Franc, Sion on FR 23.04.2021

Glass Museum

FR 23.04.2021
Le Port Franc, Sion

If symbolism is pursuing them, it’s because symbolism is part of the natural order of things: two years after Deux (Two), Glass Museum’s first album released in May 2018, the band marks Reykjavik with the evenness of a metronome. With eight explosive tracks, the musical identity of the Brussels-based duo takes a seat at the table of contemporary jazz.

The international music scene opened itself to the band in 2019: having passed through a boat’s hold at the Elbjazz Festival in Hamburg, the legendary Ancienne Belgique in Brussels, and even the Iceland Airwaves Festival, Reykjavik went on a tour of the world in the heads of Antoine Flipo and Martin Grégoire before finally being written and enriched in the studio. The result lives at the intersection of classical music and jazz, a chiaroscuro whose highlights are defined by their energy, and the always harmonious recording takes ownership of its electronic color.

For drummer Martin Grégoire, this record was a matter of “returning to the roots of a more effusive music,” melancholy but intensely alive—beating, even. Cinematic, too. So just as when the track “Nimbus” calls for alpine landscapes, the song “Abyss” has whales singing underwater. The band put its records in the hands of dependable artists and technicians in order to achieve this magnetic result and increase its creative potential: sound designers Louis Goessens and Charles Stoltz, jazz musician Jérôme Klein, and Parisian studio Meudon. “We have a much more mature relationship with music than we did before,” confides Antoine Flipo, who produced the melodic work in advance.