A festival like Malasimbo honestly doesn’t have to change much. Going strong since 2011, Malasimbo as the high altitude, gold standard of concerts, and the place your well-travelled friends get their faces blasted with colorful powder.
But this year, Malasimbo’s making a big move, taking the show from up in the mountains and a bit closer to nature: at the back of White Beach, Puerto Galera. And we could go on about this year’s lineup of acts (Robert Glasper, Danny Krivit, Carousel Casualties, Extrapolation, Badkiss, Ruby freakin’ Ibarra, among others), or the show’s new, all-inclusive packages that make going with friends and availing of certain amenities more affordable.
But let’s instead talk about about an oft-overlooked aspect of organizing shows: acoustics. The sound. The levels. The tech that makes sure you get the most out of every act, the work that prevents nasty feedback and technical f-ups. We spoke to Malasimbo co-founder Miro Grgić about the science that makes any musical festival worth its salt sound the way it does.