Ridibund Chamber Music Society blends classical and pop in genre-defying return to Eddie’s Attic

Mark Gresham | 28 MAY 2025

In the second show of the evening on May 21 at Eddie’s Attic, the Ridibund Chamber Music Society delivered a spirited, genre-blending performance, mixing classical works with pop and rock hits in inventive arrangements by bassist and composer Michael Kurth.

Formed during the pandemic by Atlanta Symphony Orchestra bassist Michael Kurth, the ensemble features violinist Kirsten Browning, cellist Mary Horst, harpist Molly O’Roark, and drummer Ronnie MacDuff, with Kurth on upright bass. What began as informal neighborhood gatherings has evolved into a polished group known for its genre-crossing performances.

Eddie’s Attic, a storied listening room in the heart of Decatur, Georgia, has long been a haven for singer-songwriters and genre-defying acts whose performances thrive on intimacy and connection. Known for its warm acoustics, attentive audiences, and reputation as a launchpad for artists like John Mayer and Indigo Girls, the venue fosters a kind of musical communion that’s rare in traditional concert halls. It’s an ideal setting for the Ridibund Chamber Music Society, whose performances blur the line between recital and cabaret. With its blend of classical finesse and pop irreverence, the ensemble’s playful, genre-bending set finds a natural home in a space that encourages musical curiosity, personal expression, and a bit of mischief.

The evening’s setlist showcased Kurth’s imaginative arrangements, including a medley that fused the opening of Richard Strauss’s Also Sprach Zarathustra with Thomas Dolby’s “She Blinded Me With Science,” Coldplay’s “The Scientist,” Sam Cooke’s “Wonderful World,” and They Might Be Giants’ “Birdhouse in Your Soul.” Other highlights included a mashup of Debussy’s Clair de Lune with Neil Young’s “Harvest Moon” and a combination of Beethoven’s “Moonlight” Sonata with “House of the Rising Sun” and The Who’s “Love Reign O’er Me.”

Kurth’s arrangements often juxtapose classical motifs with contemporary songs, creating a fresh listening experience. For instance, the ensemble’s rendition of the Beach Boys’ “God Only Knows,” intertwined with Radiohead’s “Paranoid Android,” demonstrated their ability to seamlessly traverse different pop music eras and styles. They are technically clever—full of surprising segues and stylistic layering—and play with genre expectations, e.g., resolving a Radiohead harmony in a Bach-like cadence.

In the middle of the intermissionless program, we also got a Kurth original, Charles at His Leisure, for solo bass.

The performance concluded with a high-energy version of James Brown’s “I Feel Good,” leaving the audience enthusiastic and appreciative of the ensemble’s delightfully innovative approach to music.

The Ridibund Chamber Music Society continues to challenge traditional musical boundaries, offering audiences a unique blend of classical and popular music in a chamber ensemble setting. ■

EXTERNAL LINKS:

• Ridibund Chamber Music Society (Facebook): facebook.com/profile.php?id=61563043837009
• Eddie’s Attic: eddiesattic.com/

About the author:

Mark Gresham is publisher and principal writer of EarRelevant. He began writing as a music journalist over 30 years ago, but has been a composer of music much longer than that. He was the winner of an ASCAP/Deems Taylor Award for music journalism in 2003.

Read more by Mark Gresham.

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