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Fri 10 Oct 25
- doors open
- 19:00
- start
- 20:00
- intermission
- 20:30
- end
- 22:25
de DoelenEduard Flipse Zaal (zitplaatsen met vrije stoelkeuze)
20:00 Sam Nera Showtime (support)
20:55 Marysia Osu
London-based harpist Marysia Osu has shared bewitching new piece ‘Seatime’.
A classically trained artist with a longing for aesthetic independence, Marysia Osu is working on her own potent vein of freedom music. Jazz adjacent improvisations, she’s been drawn into the orbit of Brownswood Recordings – one of our favourite labels – who will release new album ‘Harp, Beats & Dreams’ on October 18th.
Recorded predominantly on her own, the record is completely homemade, a process that allowed her to reach “different emotional states and moments”.
New piece ‘Seatime’ finds Marysia reaching outwards, attempting to touch on emotions she can’t quite describe. The overused word ‘ethereal’ doesn’t quite sum up what she’s attempting – there’s a spiritual quality to these melodic traversions.
Harp melted together with opaque electronics, it finds Marysia Osu – who is also a key component of Levitation Orchestra – firmly embracing her solo characteristics.
For fans of: Alice Coltrane, Brian Eno, Mary Lattimore, Ólafur Arnalds, Nala Sinephro, Floating Points & The London Symphony Orchestra, Plumm, Maxwell Owin.
Support act: Sam Nera
Sam Nera is a Belgian artist based in Amsterdam, blending neo-soul, experimental pop and hypnotising soundscapes. With a background in jazz and a crystalline voice, she explores themes of grief, healing and transformation. Her debut EP Rebirth was released in March 2025 on the Dutch label PIP Records, establishing herself as a promising new voice in the alternative soul and pop scene.
Her stage name, Nera, was created from her late mother’s name and symbolizes light and guidance. In her debut EP Rebirth, Sam pays tribute not only to loss but also to the power of rebirth. Her work is shaped by influences such as Moses Sumney and Radiohead.
“Marysia Osu’s Harp, Beats & Dreams (Brownswood Recordings) is a piece of oddly wonky, disconnected R&B, where Osu’s heavenly harp flourishes are backed by ultra-slow breakbeats and mutilated samples. It’s most effective on the more minimal tracks such as Dream Language or Despite Being in Love, where her solos are drenched in reverb and wreathed in ghostly, highly textured percussion.”