Live From Tallinn: The Necks, Phlox & The Jimi Tenor Band

The Necks
Paavli Kultuurivabrik
Tallinn, Estonia
April 25, 2026

The Necks revel in their improvisatory nature, but they do observe a handful of self-imposed parameters. Their free-form excursions customarily evolve over the span of around an hour, and their gigs usually involve a pair of sets, mostly navigating contrasting approaches. Here they are at Tallinn's major alternative venue, which adopts a standing-space stance, just as if we're inhabiting a rock gig. This eternally-running Australian trio (almost four decades) probably confront a seated audience in the main, and this evening also benefits from a more atmospheric rock-suited lightshow, with mist-atmospherics. All of these circumstances combine well, adding mystery, and still herding the audience into a highly attentive state. Given that The Necks often improvise around a rhythmic circle, a loosely linear, even groovesome shape, this allows the crowd to softly sway to the ongoing moods of the music, free to move.

How many ways can they incrementally build? Tony Buck (he who only has to arrive from Berlin) works with tiny woodblocks and a fluffed mallet, as pianist Chris Abrahams exudes calm thought, wandering quietly along his keys. Lloyd Swanton is creating quite a melodically snagging line, straight from the outset. As this crew failed (deliberately, coincidentally?) to get booked by Jazzkaar (running concurrently), it's still appropriate that this is one of their more jazz-oriented pieces, almost in a traditional piano trio style. Swanton strokes strings lightly, hesitantly shaping chords, to pair off, running, with the Abrahams clusters. Lyrical pools shimmer still during this slow construction, but sudden slight swells lie ahead. Abruptly, Abrahams gets into a continually rolling repeat that's straight outta Julius Eastman, Buck snicking sticks in sympathy. Snaking bass figures sound like they're emanating from an electric harpsichord overswell. Where is that sound coming from? It's an accumulation that would have gratified both Terry Riley and Popol Vuh.

Tallinn Saxfest
Uus Laine
Tallinn, Estonia
May 2, 2026

Uus Laine translates as 'New Wave,' making this retro-funky decor joint well-suited to an adventurous one-night festival such as Tallinn Saxfest. It's a mainstay venue for Tallinn Music Week, as well as presenting regular gigs all year 'round. Their all-evening sequence of bands inexplicably clashes with the concluding day of Jazzkaar, just across the way at the Telliskivi Creative City. Although not entirely jazzed, the Saxfest also probes its namesake horn's presence in rock and electronic music, with acts alternating on a pair of stages. The main Uus Laine stage held most of the crucial action.

Phlox originally assembled in 2000, lurking at the heavier, harder end of the Estonian progressive rock tunnel, their saxophonist Kalle Klein adding a strong amount of individuality to their otherwise guitar and keyboard familiarity (and justifying their presence at this festival). The Phlox palette harks back to the old 1970s heydays, but doesn't sound dated or pompous. There's a tough grind at the core of their intricate riff-based sound. Phlox simultaneously winged older followers back through the decades, but held onto a present power that could appeal to the post-post rock generations. Everything is often so retro nowadays that it's difficult to disentangle these strands. Klein stuck around for a collaboration with wordsmith Eik, who appeared barely out of his teenage phase. Even though lacking a grasp of the Estonian language, your scribe wasn't so impressed with Eik's tone and delivery, but Klein soldiered onward with his saxophonic flow.

The Jimi Tenor Band topped the festival night, startling the crowd by lurching down the stairs from their dressing room virtually straight after that previous set. The hour was getting late, and these Finns sure were eager to play. Tenor was in a good humoured state, bantering with the audience in between numbers, mixing up his repertoire, and seeming to shift about between tunes in a very spontaneous manner. This developed a very loose, partying vibration, very different to some of his other gigs in recent years. There was a palpable sense that the band were enjoying themselves to the extreme. Tenor was joined by guitarist Lauri Kallio, specially-effected trombone (and tuba) slider Heikki Tuhkanen and he himself also brought out his flute. His white drape-suited garb (with glitter-flame embroidery curlicues) was highly appropriate for the venue's vibe. Tenor held his small keyboard aloft, in Jimi Hendrix fashion, looking like he was playing it with his tongue, a possessed showman well after The Witching Hour.