It is with great sadness we have to announce the decision to cancel Counterflows Festival 2020 due to the ongoing issues with COVID-19.

Putting international artists through the stress of cancelled flights and being potentially quarantined is just too much of a risk to take given the current situation. On top of this, it feels increasingly irresponsible to be holding social events of our scale given the risk of the virus spreading.

We will be issuing refunds for the festival via Eventbrite right away. Funds should be back in your account within the next 7 working days.

Counterflows is a small grassroots festival and we appreciate the love and support the artists, audience members, supporters/funders, staff and everyone else have given us on this venture.

As a small statement of solidarity, if you want to help support artists due to perform and their respective independent labels, we have made a list of music that is available for purchase on their bandcamp pages

We are working out our budgets at the moment and aim to pay all the artists cancel fees. If anyone is able is able to help boost the amount we give them you can do so by donating to us via PayPal at 100% of donations will be spread equally between the artists.

As it stands we will be focussing our energy on the 2021 edition of the festival, which will be our 10th year anniversary. The plan is to hopefully reschedule as much of the line-up for the 2020 festival as possible, as well as add some additional projects on top. This of course depends on funding and finances, but our fingers are crossed. We'll keep in touch.

Please look out for and support one another during this difficult time. We all need one another more than ever.

Love and strength,
Alasdair & Fielding – Team Counterflows

Original website still available below
A Festival Of Underground, Experimental & International Music
2 – 5 April 2020
Various Venues Around Glasgow

Sosena Gebre Eyesus / Kumio Kurachi / Quinie + Glasgow Supper Club’s Vegan Food

Venue and Date

Maryhill Community Central Hall, 2 April 2020


18:00 doors – 20:00 start
22:30 finish



Counterflows opens with a celebration of song – weaving together past traditions and pushing them into the present. Come down early for some free vegan food served up by Glasgow Supper Club! 

Food will be served 6pm-7.30pm.

**please note it will be a cash only bar at this event**

Sosena Gebre Eyesus is an Ethiopian artist whose soulful, life-affirming incantations are guided by the gentle strums of her Begena, otherwise known as King David’s Harp. One of the world’s oldest and most beguiling instruments, the Harp of David has been employed as a soother of evil and disturbed spirits since ancient times, and has long been the central instrument used to accompany Ethiopian Orthodox hymns. Sosena Gebre Eyesus is one of its most captivating practitioners, playing the instrument in an utterly entrancing manner as she softly sings songs of devotional reflection. We are delighted to welcome her for her UK debut performance at Counterflows 2020.

Fukuoka native Kumio Kurachi is one of the most original players of the Japanese underground. When he’s not making visual art, Kurachi writes, sings and performs his unique brand of song – often pairing surreal lyrics and unorthodox tunings with theatrical vocal mannerisms. He has performed actively in Japan since the 80’s and still plays shows in Fukuoka regularly. Past collaborators include Taku Unami and Tatsuhisa Yamamoto. He has played with Tenniscoats, Kazuhisa Uchihashi, Katsura Yamauchi, Tori Kudo, Jim O’Rourke and Eiko Ishibashi. His first album released outside of Japan ‘Sound of Turning Earth’ was released on bison in June. This will be his first trip to Scotland.

“The music is so melodious that the mixture of the strange wording, guitar and variations of voices thrives all together and it can haunt you without noticing it, just like the small events of everyday life you can’t escape from.” – Midori Ogata

Quinie (Josie Vallely) is an unaccompanied singer based in Glasgow, Scotland. She sings primarily in Scots, influenced by a range of song traditions from folk revivalist campfires to Scottish traveller singers. Her vocal style is informed by the singing of Scottish traveller Lizzie Higgins (1929-1993) in particular. Supported by Counterflows, Quinie has developed a body of work, partly drawn from archival recordings of the School of Scottish Studies Archives, that explores the influence of the pipes in Lizzie Higgins’ singing. Quinie’s new ‘Piping Sangs’ bring together reinterpretations of traditional songs and new compositions based on the Scottish mouth music traditions of diddling, cantering and canntaireachd.