Live music review: Korean fusion group ADG7 thrilled Austin Psych Fest fans last weekend

It’s difficult to believe traditional Korean group Ak Dan Gwang Chil (ADG7) arrived within mere hours of their performance time at Austin Psych Fest on Sunday at Far Out Lounge and Stage. The festival added ADG7 as a late addition to this year’s lineup on day three as an opener on the Willie (main) stage. On early arrival, onlookers curiously scoped out the unusual instruments set on stage before wandering back to Little Mazarn who was performing on the Janis stage. “Who is this? What is going on here”, looking at the peculiar spread of instruments: a drum set, large bamboo flutes, and most unusual: the saenghwang. Only a few people expected what was to be one of the most memorable acts of the weekend.

ADG7 arrived on stage with three women adorned in brightly colored hanboks with six other members, all in white from head to toe. The three skipped on stage for their track “Whatever” with careful choreography, bouncing low from side to side while a daegeum (bamboo flute) flitted high-pitched over the rest of the song.

ADG7 takes their name Gwang meaning liberation and 7 as the 70th year anniversary of the National Liberation when North and South Korea were freed from Japanese rule. While “psychedelic” in the western music industry associates with reverb and winding solos crafted to sound like improvisation, ADG7 sharply contrasted the expectations with meticulously crafted numbers of modernized minyo (Korean folk) and mysterious gut (ritual music). Somehow, the set fit perfectly amongst Sunday’s lighthearted international theme with shamanic motifs.

Lead Hong Ok introduced “Hee Hee” as a song to bring positivity on days where it feels difficult. Won Mean Dong Maru plucked on the gayaguem, a stringed zither that sat horizontally on the stage while Lee Man Wol blew into the piri, which produced a sound similar to that of a wild banshee.

Each member of ADG7 skillfully crafted a concise statement during the intermission between songs. Taking a moment to speak between songs would typically be risky on such short set times, however, the theatrics of the singers and the dynamic sounds of gut quickly regained the energy of the audience. They used each intermission to introduce the next song, to educate us on their history, and encourage the audience to dance. Their exuberance clinged infectiously to the audience as a proof that language is not a legitimate barrier to any genre of music.

“Who here is alone? Oh! How about you?” Hong Ok attempted to play the role of matchmaker in the crowd before “Hello Lonely”. Something about “Hello Lonely” sounded familiar, like boombastic bossanova that had been easternized with opulence.

For those who are interested in ADG7 and contemporary Korean folk, check out Leenchalni. Pansori pop group Leenchalni derives their album “Sugungga” from an old Korean epic that spans the entire album: A dragon sends a terrapin on a quest to retrieve a rabbit’s liver to cure the dragon’s ailment. The Korean genre name pansori can be broken down into two parts: pan, which has multiple meanings including “a situation where people are gathered” or “a song composed of varying tones”, while sori means sound. Conventionally, pansori music includes only a drummer and a singer intending to tell a story, however Leenchalni modernized pansori by adding bass guitar to add funk.

For both Ak Dan Gwang Chil and Leenchalni, their goal was to create music outside tradition as well as saccharine K-pop. Bassist and composer of Leenalchi (formerly in the wildly eclectic group SsingSsing), Jang Younggyu strived to create a sound that could go mainstream amidst the wave of “idol music” (mega groups like BTS and BLACKPINK).

“I don’t want to be known by phrases such as the globalization of Korean music or modernization of gulak [Korean classical music]. We wanted to go mainstream though. We tried to make music that people could dance to, music that lets their body respond first,” said Jang in Korea Joong Ang Daily. Pansori would be a subtle implication secondary to the music itself. The groovy bass juxtaposing traditional vocals, creating timeless pieces also familiar to the Western listeners.

Other artists worth checking out that modernize Korean folk tradition: Jambinai, Ssing Ssing, Mukimukimanmansu. As far as psych goes: how does the delineation of the psych genre bend as tradition gets reimagined? How will the interpretation of mysticism across cultures push the boundaries?

All photos by Drew Doggett

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