Co-Director Interviews: Adam Vida
As 2023 draws to a close, we find ourselves reflecting. In a series of short interviews, we're sharing the "origin stories" of ESS's co-directors, featuring tales from the past and giving you a sneak preview of 2024. The community’s generosity is inextricably linked to each of these narratives, which are made possible thanks to the ongoing support of individual donors.
We hope you’ll consider contributing to our story in 2024 by making a donation. To quote ESS co-director Adam Vida below, your support helps us explore new opportunities for ESS to be “a hub for community and creativity” for individuals around the world.
“One of the most meaningful events I’ve experienced”
ESS Co-Director Adam Vida’s “Origin Story”
What was your first experience with ESS?
I had heard about ESS as a place and a studio, but I never had the chance to go until I was hired as Studio Manager in 2008. One event that really stands out to me was in 2012 when we organized a benefit concert for Frank Rosaly after he had his drum set stolen from his car. Alex and I were taking on more artistic and curatorial responsibilities, and we had heard about Frank’s gear through social media. We realized we were in this unique position where we could organize a benefit concert pretty quickly. This was a big deal because it showed me that we could actually do whatever we dreamed up, and we had the team to make it happen.
Another pivotal moment was the 12 Hour Drone: Drone for the End of Time Event. That also felt like we were stepping into owning our roles here a little more. We recognized that there was so much experimentation happening outside of academia and we wanted to cultivate a hub where all of these people could come together.
Frank Rosaly Benefit event at ESS
Adam at the 12 Hour Drone event
Why did you join ESS?
I am a working percussionist in Chicago, so I came to ESS as someone who knew the community. I joined because I could see the ways that I could help ESS really be built and nurtured into something special.
Looking back at 2023, what are you most proud of?
Macie Stewart’s A Mouth Full of Glass at Epiphany Center For The Arts was one of the most meaningful events I’ve experienced, ever. Macie came to us with the idea and we were all ready to jump in and support her. She’s a great improviser and experimental musician, but she’s also a rocker. This performance represented something so personal to her and really showed that experimental work doesn’t always have to be hiding in abstraction and layers of obscurity—it can be sincere and beautiful. Presenting something so stripped down and raw felt really bold and thrilling to me. And, then to pair it with a duo like Damon Locks and Dana Hall was incredible. This was our first time working with Epiphany Center for the Arts, and we’re excited to do more stuff there in the future. It’s a great room.
Macie Stewart’s A Mouth Full of Glass at Epiphany Center For The Arts
What are you excited for in 2024?
The new ess.org website. We have so much media, especially with Creative Audio Archive, that we haven’t gotten out there yet. We’ve been waiting for a long time to bring this level of accessibility to the collections. TQC in 2020 really showed us how online presentation can connect ESS to like-minded people around the world. I think the website will create a new hub for community and creativity. I’m excited to see what it will grow into.