The final day of Rewire 2025 is upon us. We hope you’ve managed to get some rest – especially those of you who stayed ‘til the end last night – as a big day of performances awaits. Catch the final round of our daily guides to Rewire’s music programme below for an insight into some potentially highlights to discover this Sunday. You can check out the full programme timetable here, including the Proximity Music: Echoes of Entropy exhibition, our film programme at Filmhuis Den Haag, and the final day of discussions, audio walks, and workshops hosted as part of our context programme.

Nyokabi Kariũki & Cello Octet Amsterdam 'Birdsongs from Kĩrĩnyaga' – Amare - Conservatoriumzaal, 14:15
The distinguished chamber-music ensemble Cello Octet Amsterdam returns to the festival to present a new work with Kenyan composer and sound artist Nyokabi Kariũki titled Birdsongs from Kĩrĩnyaga. Kariũki is a composer, sound artist, and artistic researcher who performs with piano, voice, electronics, and several instruments from the African continent. In Birdsongs from Kĩrĩnyaga, Kariũki’s voice alternates with field recordings of East African songbirds and the deft playing of Cello Octet Amsterdam to foster a lively habitat of sounds which offers an interplay between nature and human heritage. Catch this glistening performance at Amare’s Conservatoriumzaal.

Molina – Concordia, 14:30
Danish-Chilean producer and composer Molina combines sample-based techniques with instrumentation to create woozy dream-pop soundscapes that are rich in imagery and texture. Beneath its preened surface lies a warbley, circuit-bent logic of half-broken, half-mended instrumentation and sombre lyricism. Harkening back to the worn lo-fi of Olympia’s K Records on one hand and the pristine jangling guitars of 1980s Northern UK on the other, Molina carves out a new contradictory sound from these fragments. The gentle low timbre of her voice recalls Nico’s New York years and her insatiable experimentation and melodic mastery posits her among the most exciting of her contemporaries in Copenhagen’s compelling experimental pop scene.

Wendy Eisenberg – PAARD II, 16:00
Wendy Eisenberg is an improviser and songwriter who uses guitar, tenor banjo, computer, synthesiser, and the voice to create genre-spanning works: from jazz to noise to avant-rock to delicate folk. On their critically acclaimed album Viewfinder (2024), foggy free jazz, bossa nova, and indie guitar sounds coalesce. Eisenberg’s background as a writer leaks into their songs, whose freer elements of unbridled jazzy chaos are offset by a sensitive, writerly attention to detail and theme. Unfurling as a synaesthetic, paradoxical epic of “sounds about vision,” upon the close of Eisenberg’s Viewfinder, one may discover a sense of fog being lifted through what the songs elicit: harmonious thoughtfulness and gleaming clarity, both of which will be heard when they perform this evening at PAARD II, accompanied by a band.

Posuposu Otani – Theater aan het Spui - Zaal 2, 16:15
Finger-picked open-tuned guitars are accompanied by throat singing and the kohkin (the Japanese jaw harp) in the wonderful music of Posuposu Otani. Across his blues-but-not-blues and unfolky folk, Otani develops a peculiarly sun-tinged type of Japanese Americana. Experimenting with simple yet heartfelt cyclical guitar phrases, Otani opens his mouth and lets out rumbling bursts of throat singing – blending numerous kinds of transcontinental traditional song into a unique sound. His timeworn songs are as warm as the guitar tone that dances across them. Otani's ragas, compositions, and songs arrive at the ear like whispered tales from an old friend. He performs for the first time outside of Japan this evening at Theater aan het Spui - Zaal 2.

Billy Bultheel 'A Short History of Decay' – Koninklijke Schouwburg, 17:30
Composer, musician, and performance artist Billy Bultheel, accompanied by an ensemble of musicians, brings his new performance A Short History of Decay to Koninklijke Schouwburg. In this one-of-a-kind work, a small group from the audience are invited to sit on stage while others sit around a towering, monolithic, resonant instrument that amplifies the piece's deep tones. The position of the divided audience speaks to the work's political and critical themes; drawing from Emil M. Cioran’s critique of fascism and idolisation, A Short History of Decay is punctuated by three monologues that speak to geopolitical unrest, co-written with Edwin Nasr. The work plays sonically in the tension between the ancient and the present, mixing re-interpreted Gregorian melodies with electronics, blast beats, and screaming distortion.

caroline – Concordia, 18:05
Grounded in improvisational urges, eight-piece group caroline draw from their shared influences of midwestern emo guitar music, Appalachian folk, and minimalist classical to create a sound that isn’t quite like anything else. The spirit of the band’s sound is urged on by a sense of communality and balance in their performances. Like vibrating atoms, elements of each member’s instrument or voice co-exist, flowing in and out of the centre, taking a brief spotlight or becoming frayed from the whole, before returning to the single symbiotic organism that is caroline. Their forthcoming album, which they premiere at Concordia this evening, seeks to build upon the deep foundations of their eponymous debut – and with it, their live set-up evolves too, stepping out of the intimate towards the monumental.

Ioana Vreme Moser ‘Coquetta’ – Theater aan het Spui - Zaal 2, 18:15
Sound artist Ioana Vreme Moser uses electronic components in interaction with her own body, organic materials, and environmental stimuli. Vreme Moser’s works feature personal narrations and observations on the history of electronics, and their production chains, wastelands, and entanglements in the natural world. Coquetta is Vreme Moser's glamorous and extravagant alter ego; obsessed with self-beautification, she applies makeup with utensils that are part sound-device and part beauty-product. Circuitry, make-up substances, and voltages entangle in this performance, as Coquetta's makeup routine is transformed into a peculiar sound piece of playful, flamboyant abrasion.

Colin Self ‘Gasp!’ – Theater aan het Spui - Zaal 1, 19:15
Colin Self inhabits many selves, among them: artist, composer, puppeteer, community organiser, singer, researcher, and dancer. There are many associations at play in their work, but attempting to focus or grasp onto one leads you down a rabbit hole of intermingling ideas. From out of this colourful practice, Self returns with an album on label RVNG Ltd., r∞L4nGc (2025). At Rewire, they perform Gasp!, which is based on this new record. Presented as a triptych of music, puppetry, video, and text, Gasp! is the second opera in Self’s Shadow series – a work about trans-dimensional dialogue, spiritual guidance, and queer ancestry that showcases Self’s iridescent practice of song, movement, and spectacle. This performance at Theater aan het Spui’s Zaal 1 is not to be missed.

Lyra Pramuk – Amare - Concertzaal, 20:30
With her debut album Fountain (2020), musician and composer Lyra Pramuk burst onto the scene as a must-hear artist at the forefront of experimental chamber pop, with songs that washed listeners away in their fluid ambience and rippling melody. The futuristic folk of Pramuk fuses classical vocal techniques, contemporary club sensibilities, and poppy experimentation. Her voice is the centrepiece around which many parts fall: swirling synthesisers, violin stabs, and shimmering ambience are scattered across her organic-electronic sound. Constructed from all of these fragments, Pramuk’s songs build a collage-like world of overlaps, folds, and interlocking parts. This evening, at Amare’s Concertzaal, Pramuk presents the world premiere of a new audiovisual performance, featuring multiple musicians and bold visuals.

Eiko Ishibashi – Lutherse Kerk, 22:00
Eiko Ishibashi is a Japan-based musician who, over a two-decade-long career, has released with labels like Drag City, Black Truffle, and Editions Mego. Her continued collaboration with director Ryusuke Hamaguchi led to her composition of the renowned soundtracks to Oscar-winning Drive My Car (2021) and its follow-up Evil Does Not Exist (2023). Her new album, Antigone (2025), just released on Drag City. The tonal mastery and emotive carefulness of Ishibashi's compositions find a new context among her songs – baroque art-pop fabulations of swelling scope and artful arrangement with an ever-experimental edge. As Sunday of Rewire 2025 draws to a close, Ishibashi presents a more intimate work: a solo performance for piano, flute, voice, and electronics in the special surroundings of Lutherse Kerk.