This paper examines the intersection of music, creativity, and society through the lens of a critical and self‐critical appraisal of the here.here concert series; ongoing research‐led collaboration focusing on transdisciplinary approaches to experimental music with a focus on the socio‐politico‐environmental dynamics at play between all involved in a musical encounter. The authors, both academics and composers, contend that experimental music, in its super‐local, interpersonal connections, can challenge the conventional and institutional, serving as an alternative to the homogeneity and self‐centred individualism fostered by capitalist systems. We propose the concept of a ‘new social virtuosity (“social virtuosity” in a music context was coined by Maggie Nicols in the 1970s to describe Feminist Improvising Group and their challenge of the “technological or instrumental elitism”; often dismissed by male musicians. (We came across it through the PhD research of one of our students Maureen Wolloshin),’ viewing the music landscape as a vast terrain where various musical, artistic, and creative directions intersect and converge, transcending presumed binaries. The paper foregrounds the significance of curatorial practice in bridging these differences and harnessing social dissonance, particularly in the context of the capitalist systems which enable these concerts. The authors argue that curation, despite its necessary interplay with these systems, can act as a tool to disrupt and question them. They explore how the act of curation influences social and political dynamics, examining its potential to create new ways of interaction and empowerment. This approach serves as a contrast to those systems that often cause disconnection and isolation. The authors reflect upon three case studies from the last two seasons of the here.here concert series that explicitly focused on the concepts of ‘ventriloquy’ and ‘social virtuosity’ as forms of creative agency: entering into critical dialogue with and giving voice to seminal works (Cage 4′33, Alexander J. Ellis (1814–1890)) for the former and three contemporary pioneers of ‘social virtuosity’—Eva‐Maria Houben—Maggie Nicols and Eddie Prevost for the latter. The concept of ‘social dissonance’ is examined, illustrating how it can be used as a catalyst for creative dialogue and solidarity, while also encouraging a deeper understanding of our shared societal dynamics. Finally, the paper introduces the concept of ‘a new social virtuosity’, emphasising the importance of listening, collaboration, and collective intention in creating a shared musical experience that expands beyond the stage to include the audience. It concludes by examining the performance of 4′33 within this context and underscores the power of dissonance as a tool for creative and critical thinking.
