Beverly Glenn-Copeland
Beverly Glenn-Copeland is a visionary composer, singer, and trans elder whose career spans more than five decades of pioneering work across folk, electronic, and spiritual music. His 1986 masterpiece Keyboard Fantasies experienced an extraordinary global rediscovery decades after its release, earning the Polaris Prize Heritage Award and establishing him as a foundational influence in ambient and experimental music. This year, he released Laughter in Summer, a luminous meditation on love, companionship, aging, and transcendence, widely praised as one of the most poignant albums of his career. A powerful advocate for trans visibility and intergenerational dialogue, Glenn-Copeland has collaborated with artists including Sam Smith, Bon Iver, Romy, and Blood Orange, extending his message of resilience and joy to new audiences worldwide. His live performances are intimate, spiritually resonant experiences that bridge past and present, inviting audiences into a shared space of reflection, healing, and celebration.
Damsel Elysium is the mediator of Daēdah, a storm chaser, hypnagogic architect, and augur. Their main purpose is to bear witness, mediate and activate through mythos-making, welding with sound, light, subtle energy and embodied strategic dream blue prints. Their dedication to working with the foundational elements of fire, earth, water and air, they alchemise and draw attention to minute details and initiate alternative realities. They collaborate with nature and the manmade becoming a vessel for metaphysical expression and the performative object. Their craft draws from somatic technique and anti-colonial theory, constantly evolving and learning. Through performance, film and object crafting, they explore the boundaries of ritual and movement as preverbal communication, unravelling truths and stories that only amalgamate between space, finding rhythm in air and transforming it. Their first record released on AD 93, and through sonic mediums, they play with the seismic and the meteorological, creating maximalist tension through traditional instruments such as the violin, double bass, clarinet, piano and cello. More recently their voice has fuelled their work, using the voice as an instrument of phonetical discovery.
Creamcake (CC) is a Berlin-based interdisciplinary platform negotiating the point of convergence in electronic music, contemporary art, and performance. Distanced from normative social structures, it moves in fluid processes of thought and action, engaging with the social issues of the present through diverse projects. CC organizes exhibitions, performances, concerts, symposia, DJ sets, digital commissions, publishing projects, and workshops. These include the annual 3hd festival, Is it cold in the water?, Paradise Found, インフラ INFRA, Europool, <Interrupted = “Cyfem and Queer>, and the Chronologies of Creamcake anthology, among many others. As a queer-feminist nomadic space, CC has cooperated with a variety of clubs, community spaces, and institutions, including but not limited to Berghain, Berlinische Galerie, Gropius Bau, HAU Hebbel am Ufer, Klosterruine, OHM, RSO, and Südblock.
In collaboration with Creamcake
