with Thomas Echols & Invoke

Sunday, April 18 at 5:00 p.m. | Online Concert

CALL AND RESPONSE is an exploration into memory, meaning, and the not-so-obvious threads that connect us all over Austin.

Streamed live from KMFA’s new Draylen Mason Music Studio, the genre-blurring string quartet Invoke alongside wildly creative Thomas Echols will fashion a lush musical journey with guitar, strings, and electronics.

Inspired by our community, CALL AND RESPONSE was developed in collaboration with students from Austin Soundwaves, older adults at the Rebekah Baines Johnson Center, and co-artistic directors Carla McElhaney and Joe Williams. This unique project is presented in partnership with KMFA Classical 89.5 as part of their intergenerational Star Notes Project, with support from the St. David’s Foundation.

The purpose of the project is to offer youth and elders in our local community the opportunity for deep connection through music utilizing a proprietary CALL AND RESPONSE app created by guitarist and composer Thomas Echols. The app will allow users to zomm in on particularly precious moments of meaningful songs, and rework them to capture their essence and personal significance. Invoke and Echols will use material from the soundscapes provided by the participants to compose new works as part of this livestream concert.

The concert is free when you RSVP in advance, but a donation to KMFA in leiu of a ticket price is encouraged. You will receive a link to watch, plus a reminder and concert program in the days before the live stream begins.


Event Details

  • Date: Sunday, April 18
  • Time: 5:00 p.m. CST

Ticket Information

  • Cost: FREE

Presenter Details

    About the artists:


    Described by one pretty important radio guy as “not classical…but not not classical” (David Srebnik, SiriusXM Classical Producer), Invoke continues to successfully dodge even the most valiant attempts at genre classification. The multi-instrumental band’s other not-nots encompass traditions from across America, including bluegrass, Appalachian fiddle tunes, jazz, and minimalism. Invoke weaves all of these styles together to create truly individual music, written by and for the group. Equally at home in a collaborative setting, Invoke has performed with musicians from widely varying genres, from the Ensō Quartet, to chamber rock powerhouse San Fermin, to beatboxer/rapper/spoons virtuoso Christylez Bacon. Invoke’s two albums Souls in the Mud and Furious Creek both feature original works composed by and for the group, plus the quartet has also performed and recorded numerous world premieres. Invoke believes in championing diverse American voices, including their ongoing commissioning project American Postcards, which asks composers to pick a time and place in American history and tell its story through Invoke’s unique artistry.

    Thomas Echols

    Thomas Echols' work is an amalgam of classical, modernist, and pop music forays. Accepted at age 16 into the College of Music at the University of Colorado at Boulder, he went on to earn a Master’s of Music from the University of Texas and a Doctor of Musical Arts from the University of Southern California, and was a prizewinner in the Portland International Guitar Competition and the Donald Miller Concerto Competition.

    As visiting artistic director for Austin Classical Guitar, Echols curated programs including traditional instrumental recitalists, experimental electronics, newly commissioned works, and interactive visual projections. He have recorded and performed with the Grammy­Nominated choral ensemble Conspirare and the Houston Symphony Orchestra (its recording of Wozzeck recently won a Grammy and the prestigious Echo Klassik award for best operatic recording), and have had major engagements at the Walt Disney Concert Hall, Palazzo Chigi (Siena, Italy), The Whittier Bach Festival (LA, The Blanton Museum of Art (Austin), Jones Hall (Houston), and other venues around the world.

    His experimental-pop alter ego, Man, Woman, Friend, Computer, creates simple songs that unfold into meandering compositions, analogue synth fetishism, conspiracy pop, polyrhythmic laments, somnambulist visions, and process music. MWFC’s debut album has garnered rave reviews from Austin Monthly and The Austin Chronicle, which calls it “Meditative and fetching . . . he ventures into a complex amalgam of analog and synth. Wistful, romantic. . . Echols’ vocals sooth to surrender.” A mainstay in the thriving classical guitar and experimental music scenes in Austin, he is active as a performer and lecturer, and has contributed scholarly articles to Soundboard Magazine.