Flow State
Across the Horizon Ep. 60: Big Ears 2026
Why It Matters
The episode underscores how collaborative networks and experimental cross‑genre work are reshaping contemporary Americana and ambient music, offering listeners insight into the creative processes behind the festival’s standout acts. Understanding these artists’ approaches provides a window into the evolving live‑performance landscape, making the Big Ears showcase a bellwether for future musical innovation.
Key Takeaways
- •Across the Horizon blends ambient, experimental, and Americana communities.
- •Chuck Johnson’s “Sun Glories” mixes pedal steel with orchestral strings.
- •Johnson avoids backing tracks, favors improvisational live sets.
- •Hayden Pettigo records guitar parts in one or two takes.
- •Festival showcases diverse artists from pedal steel to dub influences.
Pulse Analysis
Across the Horizon’s special edition for Big Ears Festival underscores a growing movement where ambient, experimental, and Americana intersect. Host Bob Holmes frames the series as a community‑driven platform that nurtures collaboration among composers, instrumentalists, and vocalists. By highlighting past showcases—William Tyler, Marisa Anderson, Mary Lattimore—the podcast illustrates how the concert series has become a laboratory for genre‑defying soundscapes. This emphasis on shared creative spaces resonates with festival‑goers seeking immersive experiences beyond traditional genre labels, positioning Big Ears as a hub for innovative musical dialogue.
Chuck Johnson’s new album Sun Glories expands his pedal‑steel legacy into orchestral territory. He describes the record as a collection of distinct “sound worlds,” each built around layered strings, electronics, and post‑rock dynamics. Rather than reproducing studio textures on stage, Johnson rejects backing tracks, opting for improvisational sets that weave melodies across continuous movements. This live philosophy transforms pedal steel from a niche country instrument into a versatile voice capable of glissando‑driven chordal textures, echoing a string trio’s range. The result is a concert experience that feels both cinematic and intimate, redefining ambient country for contemporary audiences.
The episode also spotlights Hayden Pettigo’s rapid‑recording ethic, capturing entire guitar tracks in one or two takes—a practice inspired by Leo Kaki’s four‑hour sessions. Luke Schneider’s collaboration with Marisa Anderson illustrates Nashville’s improvisational spirit, merging pedal steel with avant‑guitar textures after a spontaneous three‑hour studio jam. Emerging voices like Ken Pomeroy bring left‑leaning alt‑country songwriting, while Walt McClements elevates the accordion through Mexican‑American influences, treating it as synth‑like lead. Finally, Dave Harrington’s “cafecito dub” demonstrates how dub techniques infiltrate experimental rock, using live mixing and echo to create a fluid, process‑driven sound. Together these stories map the festival’s eclectic palette, reinforcing its role as a crucible for boundary‑pushing music.
Episode Description
On today’s episode of Across the Horizon, Bob Holmes (of SUSS) speaks with artists featured at this year's Across the Horizon Showcase at Big Ears 2026. Pulled from interviews Bob has had over the last few years, the show features the conversations with and music of Pan-American, Chuck Johnson, Hayden Pedigo, Gwenifer Raymond, Ken Pomeroy, Dave Harrington, Luke Schneider, Walt McClements and more.
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