Anticipating their performance on Saturday 11 April, Beverly Glenn-Copeland and Elizabeth Copeland will enter into a conversation with Radna Rumping, during which they will exchange about a life-long journey in music and performance, focusing on their new album Laughter in Summer and recent collaborative work. 

Beverly-Glenn Copeland is a person whose music and character has touched and inspired musicians and people across many generations. His foundational album Keyboard Fantasies – written and performed on with a Yamaha DX7, a Roland TR-707, and with Copeland's unique voice – is now considered a groundbreaking release, far ahead of its time. It combined new-age minimalism, early Detroit techno rhythms, and the humble warmth of traditional songwriting into a blooming nursery of new sounds that still sounds fresh, 40 years on. Originally released in a small cassette run, it was considered a near-lost overlooked classic until it found its way into the spotlight through word of mouth, before being reissued in the late 2010s – leading to a re-flourishing of Copeland's musical career, which included reissues of his earlier work, like his debut self-titled album, but also the creation of new music which develops further his sound: gentle folk-jazz explorations, compelling gospel harmonies, and West African drumming, all accompanied by his singular voice. Following the much adored album The Ones Ahead, his new album Laughter in Summer is a joyous album made during a time of grief. Copeland was invited to prepare for a concert at the Hotel2Tango studio in Montreal in 2024, joined by his wife Elizabeth and music director Alex Samaras. Upon listening back to the recording of the rehearsal they realized that it deserved to be released as an album. Copeland is joined at Rewire 2026 by his wife and collaborator, Elizabeth Copeland – she is a theatre artist, writer, producer, and arts educator whose work over the past 40-plus years traverses arts and activism.

Radna Rumping is a writer, artist, and curator based in Amsterdam. Her work is relational and collaborative, dealing with public space, experimental archiving, ways of gathering, and conditions of (in)visibility. Radio and sonic explorations have run like a thread through her practice. Her writing is often made public through sound – in the form of audio essays, mixtapes, and live readings.

Because of Copeland’s health situation we’re kindly asking the audience to wear a mask during the conversation, which will be provided when entering the room.