Six weeks, six artists, six brand-new sound installations, an immersive journey where sound, culture, and space collide in the heart of Glebe.

Proudly funded by Create NSW and Local Edition
Artists and Date: 

• Hamed Sadeghi - 2 November

• Shervin Mirzeinali & Niki Johnson - 9 November

• Alexis Weaver - 16 November

• Maissa Alameddine - 23 November

• Chloë Sobek- 27 November

  *Purchase 3 or more nights to get 25% off all your tickets*

Time:
Doors: 7:30 pm
Music: 8:00 pm

Address: 277-279 Broadway, Glebe

What is Glebe Sound Installation?

Glebe Sound Installation is an arts series where leading musicians and sound artists transform Local Edition into a living gallery of sound. Over six weeks, six artists create brand-new sound installations using handcrafted objects from around the world, reimagining the space through their unique cultural and artistic visions.

How it works?

Each week, one artist takes over Local Edition and transforms the space into a unique sonic environment. From Monday to Thursday, they develop and refine their installation using handcrafted objects and experimental sound practices. From Thursday to Saturday, the installation opens to the public, inviting audiences to immerse themselves in a new sound world. The week culminates in a special ticketed solo performance by the artist, presented alongside their installation — a powerful finale that completes and extends their artistic vision.

Why you should attend?

Over six consecutive weeks, six artists from Persian, Arab, Korean, and Australian backgrounds, each with distinct practices in sound art, improvisation, and performance, will reshape the same space into six completely different sonic worlds. Every week offers a new cultural lens, a fresh artistic vision, and a unique performance. It’s the rare chance to witness how one venue can be transformed again and again, and to be part of Sydney’s most exciting sound experiment, right in the heart of Glebe.

About Artists:

Hamed Sadeghi - 2 November
Born in Iran and now based on Gadigal land (Sydney), Hamed Sadeghi is a multi-award-winning Persian-Australian tar player and composer. Known for his seamless fusion of Persian classical music with Western contemporary and jazz traditions, Sadeghi’s work reflects his cultural heritage and innovative musical vision shaped by his training in Tehran as a Persian classical musician.

Sadeghi leads and collaborates on a variety of projects, including regular solo tar performances that showcase his technical mastery of the distinctive stringed instrument. His compositions are marked by intricate melodic and rhythmic ideas, and praised for their ability to bridge musical traditions while maintaining a clear sonic intention. His work exemplifies the power of cross-cultural musical dialogue

Shervin Mirzeinali & Niki Johnson - 9 November
Shervin Mirzeinali is an Iranian-Australian composer, artistic director, and researcher based in Sydney. His work draws on the Iranian Dastgah modal system and the colour-focused approaches of spectral music, exploring repetition, presence, and the relationship between timbre and modality.

His compositions span chamber, orchestral, electronic, and interdisciplinary forms, often combining Persian modalities with experimental structures, speech, theatre, and gesture. His work has been performed internationally in Armenia, Finland, Austria, Georgia, and Australia, at festivals including IMPULS, SIBAFest, and the Sydney Conservatorium of Music. In 2023, he received the APRA AMCOS Art Music Award for Work of the Year – Dramatic for Panbe Zan, a contemporary Persian opera.

Niki Johnson is a composer-performer percussionist based in Sydney, Australia, who works across the fields of sculptural percussion, contemporary classical music, and performance art. Her practice involves creating experimental and playful works for uncommon materialls-as-instruments including glass, mycelium, bread, concrete, rock, wood, and water. She has been commissioned to compose and perform solo percussion works for the Sydney Powerhouse Museum and Art Gallery of New South Wales, and has recorded percussion for the ABC, Sydney Opera House, Phoenix Central Park, and Trackdown Fox studios.

Niki Johnson (percussionist, composer-performer) & Shervin Mirzenali's (composer, sound design) collaboration blurs the line between composer and performer, theatre and music, and experimental and conventional instrument design. This newest project involves using vibrating objects as methods of activating different percussive materials, and secret contact microphones as methods of listening small sounds. In their sound installation, speakers send seeds rattle across a bass drum, vibrating bug toys dance across foily surfaces, and microphones amplify the fizz of sparkling water. In their performance, Niki on vibraphone, and Shervin on an intricate electronic track, sound together with this delicately rumbling installation to explore timbral combinations across resonance, friction vibration, and rattling.

Alexis Weaver - 16 November
ALEXIS WEAVER (she/her) is a composer, sound artist and educator based in Sydney, Australia. A composer of genre-defying and whimsical electronic music, Alexis has also composed soundtracks for animation, short film, theatre, dance and podcasts. Alexis’ exploratory work has been premiered at venues as local as the Sydney Opera House and SXSW Sydney, and as far as La Biennale di Venezia in Italy. Alexis is currently completing her PhD examining the role of music and sound in science communication, while working as a full-time Associate Lecturer in Composition and Music Technology at the Sydney Conservatorium of Music, the University of Sydney.

At Local Edition, Alexis will create a site-specific work that celebrates the character and wonder of the artefacts within the store. Alexis will highlight certain objects and their makers, drawing out unique sounds and creating a shifting sonic constellation for visitors to dwell in.

Maissa Alameddine - 23 November
Maissa is a multi-disciplinary artist, creative producer and experienced vocalist.  Maissa has performed solo and with Arabic and Persian jazz music ensembles as well as contemporary and classical Western orchestras. Maissa has performed with the Sydney Symphony Orchestra and has had shows at Phoenix Central, The City Recital Hall, Performance Space, Carriageworks, The Sydney Opera House and The Art Gallery of NSW.  Maissa recently performed in Germany as part of Documenta Fifteen International art exhibition.

Maissa has been part of the contemporary Arab Australian arts community for over twenty years.  She has produced a series of creative cultural projects in Sydney and is a founding member of Western Sydney-based Arab Theatre Studio (ATS). She is the Creative Director and one of the lead vocalists in ATS’s musical project Ensemble Dandana, a collective who produce Arabic music, deliver workshops and develop new and old sounds through experimental public improvisations.

Chloë Sobek- 27 November
Chloë Sobek is a composer-performer based in Naarm, Australia. Her work is currently centred on More-than-human-music, concerned with conceptualising the more-than-human within a sonic practice. The work points to a diverse enquiry of sonic and musical forms, from acoustemology through to Noise Music. Chloë’s practice is built around the Renaissance double bass, the violone. Her creative process couples maximalist and musique concrète sensibilities. She has been described as ‘an artist that is thinking deeply about how to aestheticise what’s on everyone’s mind; to use art to drive engagement with ideas whilst pushing the boundaries of technique and technicality ’ - Kieran Ruffles, 4zzz.

This installation presents an experimental archive of the violone, composed of sound and artefacts that resist conventional models of documentation and preservation. Rather than securing a lineage of repertoire or technique, the archive stages a speculative counter-history—an imagined genealogy that unsettles entrenched narratives of Western art music.

By foregrounding the instability, partiality, and constructedness of historical accounts, the work reframes the violone not as a static vessel of tradition but as a porous site of fiction, materiality, and transformation. Through fragments of sound, objects, and traces, the installation invites audiences into an unstable archive where the past is reconfigured, and new futures, and music history, can be imagined.