On the old radioI put on a good sound
it turns me around
moves me to and fro
brings me down
that good sound
knocks us backward
lighter and tobacco
drills to the bones
drives me crazy
that pencil knows me
and the box plays
on solid graphite
the trace that follows us
darkening the brite days
for fucked-up poeple
Texts Primož Čučnik
Authors and performers Tomaž Grom, Nataša Živković, Polona Janežič, Eduardo Raon, Jošt Drašler, Vid Drašler
Light design Špela Škulj
Sound design Damjan Dobrina
Initiator and producer Špela Trošt
8. 3. 2024, Stara mestna elektrarna
15. 10. 2024, Španski borci
20. 12. 2024, Stara mestna elektrarna
12. 4. 2025, Stara mestna elektrarna
22. 5. 2025, Rdeči revirji, Hrastnik
8. 6. 2025, Borštnikovo srečanje, Maribor
Award
Zlata strela za najbolj izstopajoči dogodek v pretekli sezoni v Stari elektrarni, 2024
»The music-performance project Now I can get the fuck out of here, now I can go through the concert form in a relaxed yet compelling way, strolling among the feelings of contemporary everyday life that subtly emerge from the interweaving of Primož Čučnik’s poetry, Nataša Živković’s sensitive vocal interpretation, and the soundscapes layered by the ensemble led by Tomaž Grom. None of the elements – complemented by video projections and fragments of performative gestures – takes center stage; instead, like pieces of a shared presence, they merge into a seamless whole that speaks – and resonates – on a multitude of different levels.«
Critic
Jaka Bombač: Z mehko hibridnostjo nad borzo besed, Aplavz.art, 18. 3. 2024
»Now I can get the fuck out of here, now I can go is a good example of soft hybridity, one that doesn’t even attempt to cross genres, as it stems from the idea that in today’s world everything is already a kind of “hybrid”; a “confusion of objects and words” that simply needs to be sensed and played with, turned back onto itself and thereby reinforced.
In what sense can a concert be a performance? Primarily in the sense that it plays. Not in the sense of “acting out,” but in the sense of playing with different meanings of words, with associations between sound and image, with different uses of objects emptied of meaning.
There is no program, no leaflet listing the order of songs, no in-between thank-yous and applause (except for one moment when someone clapped twice, and the rest of us didn’t follow), no euphoria. Even though the stage is crowded with objects and the hall packed with people, it feels as though there is so much space between all of us, and yet so much intimacy at the same time. (Quite the opposite of the experience I have at some other concerts, as well as, for example, in shopping malls and many other public places, where there is neither distance nor intimacy.).«
