line upon line presents 2026 Austin Winter Music Festival

Hosted by line upon line January 4th, 6th, 8th and 9th

Thanks to: Rea Charitable Trust, Texas Commission on the Arts and You All!

January 4th

Julie Herndon is a composer, performer, and sound artist whose interdisciplinary work explores the relationship between body, sound, and technology. Her work invites listeners into intimate, unpredictable sonic worlds—described by Kulturpunkt as “truly brilliant” and by San Francisco Classical Voice as “surprisingly expressive.” Herndon has shared her music internationally, from Germany’s Blaues Rauschen Festival to National Sawdust in New York and Música Estranha in Brazil. Recent collaborations with Decoder, JACK Quartet, and [Switch~ Ensemble] investigate the convergence of social and musical ecologies. A graduate of Stanford University and Mills College, she is currently Assistant Professor of Music Technology and Composition at Cal Poly.

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Seán Clancy is a composer and performer living in Dublin, Ireland. Seán is the Ad Astra Fellow of Composition in UCD (Dublin). His work is involved in the act of translating non-musical things into music. He writes music for acoustic and electronic instruments, and also uses environmental sounds. Recent highlights include an Opera (The Sound of Things Collected) with author Emilie Pine (2025); the album 4 Sections of Music Unequally Divided by Birmingham Record Company/NMC (2024); Where the Paths End (2023), commissioned by Zubin Kanga for UKRI Cyborg Soloists; and Amaechi (2022) commissioned by the Commonwealth Games, 2022. In March 2026, NMC will release a portrait disc of his work from 2014-2025.

‘Beautifully simple yet elusive’ (The New York Times)

’An affecting reminder of minimalism’s capacity to feel deeply personal and purposeful’ (The Quietus)

Seán Clancy will perform a solo set of new pieces that inhabit the worlds of musique concrète and microtonal drone including a new piece entitled ‘We are not all here’ from his forthcoming album ‘Where the Paths End.’ (NMC 2026) A catalogue of everyday objects once owned by people such as books, tableware, cutlery, and tissues are sounded in glitchy, fragmented intensity, before giving way to ambient spareness, mirroring how grief settles into quiet remembrance.