John Paul Jones Reignites Rock at Big Ears Festival
The Big Ears Festival in Knoxville, Tennessee, has long been a melting pot of experimental sounds, where avant-garde jazz, contemporary classical, and cutting-edge rock converge. But in 2024, the festival became an unforgettable rock lover’s dream when John Paul Jones, the legendary multi-instrumentalist of Led Zeppelin, took the stage. Delivering a spellbinding performance that blended nostalgia with fresh energy, Jones proved that his musical journey is far from over.
From the moment he emerged onto the stage—rising dramatically from beneath the Tennessee Theatre’s organ pit—Jones commanded the audience’s attention. He began with a haunting rendition of Your Time Is Gonna Come on the venue’s massive 1928 Wurlitzer pipe organ, a choice that immediately set the tone for the evening. The rich, resonant tones of the organ filled the theater, transporting the audience back to the golden era of Led Zeppelin while offering something entirely new.
What followed was a stunning display of musical versatility. Moving seamlessly between instruments, Jones tackled Zeppelin classics like No Quarter and Since I’ve Been Loving You, infusing them with fresh interpretations that showcased his ever-evolving artistry. But what truly set this performance apart was Jones’s ability to bridge the past and the present, reminding the audience why he remains one of rock’s most innovative musicians.
A Night of Classic Reinvention
Jones’s choice of songs for the evening was a careful balance of nostalgia and reinvention. No Quarter, originally a showcase for his dark, mystical keyboard work in Led Zeppelin, took on an even more cinematic quality under his command. Instead of merely recreating the song’s signature electric piano riff, Jones expanded upon it, weaving in ethereal, almost ghostly improvisations that made the performance feel new and unpredictable.
Since I’ve Been Loving You was another highlight, with Jones delivering a deeply emotional performance that rivaled the raw passion of Zeppelin’s original recordings. His bass playing, as always, was fluid yet precise, filling the space with an undeniable presence. But it was his mastery of dynamics—his ability to shift from delicate, whispering notes to thunderous climaxes—that kept the audience enthralled.
While many classic rock legends rely on nostalgia alone to carry their live performances, Jones did the opposite. He reinterpreted these songs as if they were living, breathing entities, proving that his creative energy remains as vibrant as ever.
Sons of Chipotle: A Musical Adventure
Beyond his solo set, Jones’s participation in Big Ears wasn’t just about revisiting the past—it was also about pushing boundaries. One of the most anticipated moments of the festival was his collaboration with Finnish cellist Anssi Karttunen under the experimental duo Sons of Chipotle.
Together, they crafted an entirely improvised performance that blurred the lines between classical, jazz, and avant-garde music. Using an array of effects pedals and unconventional techniques, Jones coaxed otherworldly sounds from his bass and keyboard, while Karttunen’s cello work added haunting textures. At times, the music swelled into almost orchestral crescendos; at others, it dissolved into eerie, minimalist whispers.
For those expecting a straightforward rock performance, this set may have been a surprise. But for fans who have followed Jones’s eclectic career—his work with Diamanda Galás, his forays into bluegrass and folk, and his production work—this was yet another example of his boundless curiosity.
A Sonic Fusion with Thurston Moore
One of the night’s most electrifying moments came when Jones joined forces with Thurston Moore, the avant-garde guitarist best known for his work with Sonic Youth. The collaboration was unexpected but entirely fitting: both musicians have spent their careers exploring the outer edges of their respective genres.
Their set was a fearless fusion of experimental rock and free-form improvisation. Moore’s signature dissonant guitar work meshed seamlessly with Jones’s multi-instrumental approach, resulting in a sonic landscape that felt both chaotic and deliberate.
At moments, the performance recalled the psychedelic freak-outs of early Led Zeppelin; at others, it felt more akin to a modern noise-rock experiment. Moore, known for his unconventional tunings and feedback-driven playing, pushed the boundaries of what rock guitar can be, while Jones anchored the performance with his impeccable sense of rhythm and harmony.
This collaboration was not merely a jam session—it was a testament to the idea that rock music is still evolving. By bringing together two icons from different generations and musical backgrounds, the performance embodied the spirit of Big Ears: the merging of the past and future into something entirely unique.
John Paul Jones: A Legacy Still in Motion
John Paul Jones’s Big Ears performance was more than just a highlight of the festival—it was a reminder of why he remains one of rock’s most vital and influential figures. Unlike many of his contemporaries, who rest on their past glories, Jones continues to push himself artistically, always searching for new sounds, new collaborations, and new ways to challenge expectations.
His willingness to experiment, to take risks, and to constantly reinvent his music is what makes him stand apart. Whether he’s performing a reimagined Zeppelin classic, crafting an improvisational soundscape, or teaming up with musicians from entirely different genres, Jones proves that true artistry knows no limits.
As the final notes of his performance echoed through the Tennessee Theatre, the audience erupted in applause—not just for what they had just witnessed, but for the decades of groundbreaking music that Jones has contributed to. And yet, even with such a rich legacy behind him, one thing became clear that night: John Paul Jones is still moving forward.
Big Ears Festival 2024 wasn’t just a celebration of music—it was a celebration of musical evolution. And at its heart
was a legend who refuses to stand still.
