Nils Petter Molvær and Arve Henriksen trumpet PUNKT’s 20th anniversary

Renowned as a festival that embraces jazz and electronic progressives, PUNKT's 20th jubilee gave its founders, Erik Honoré and Jan Bang, the clear purpose of acknowledging the PUNKT 'family'. Many who've been integral to the festival's ethos were here including musicians Nils Petter Molvær and Arve Henriksen, sound engineer Sven Persson, administrator Tonje Bjørheim and gracious festival host, Fiona Talkington.

As Artist in Residence Molvær played in several combinations, often perched on a high stool his back in an arc with trumpet pointed down, the tone never shrill or gruff as if the brass was lined with plush velvet. He seemed locked in a private conversation with his instrument, asking pressing questions about the meaning of it all; life, the universe and everything in between. This introspection was most potent in his duo with Alva Noto a.k.a. Carsten Nicolai.

An electronic artist of rigorous talent whose detailed audio passion and collaborative friendship with Ryuichi Sakamoto (they co-produced The Revenant soundtrack) was discussed in one of the seminars curated by David Toop; a freethinking element of the PUNKT programme. Here, with Molvær, he ushered the festival in with majesty. His sound was enormous yet elegant, drawing curtains of imperceptible stars from ceiling to floor with bell-like tinkles and sweet synth notes, and could summon a bass vibration that ran through the auditorium as if all that was solid had become smoke.

A piano trio led by Eyolf Dale and the art-noise band Abacaxi, may seem oppositional but their impact was identical; energising and life-affirming. Julien Desprez lobbed guitar strums and shot out rhythmic pellets like firecrackers, all the while tap dancing on an orchestra of effects pedals. Jean-François Riffaud pointed the neck of his electric bass at Desprez as if to lock horns with him, his basslines flashing fast whilst drummer Francesco Pastacaldi ran through an abandoned tunnel of punk rock; smashing the snare or clashing with drum rims. Abacaxi were fire starters with an infectious zest underpinned by incredible technique; they made sudden stops an art form.

Arve Henriksen group - Photo by Alf Solbakken courtesy of PUNKT

Less like paintballing but equally vibrant was the Eyolf Dale Trio. Dale's opening composition leapt between chords and runs of notes, conjuring verdant textures and blossoming shapes. The piano pedals were at the hub of the party, used to swivel direction and twist feeling. As with Abacaxi, the interplay was a thrill; at one point in 'Forward From Here' Eyolf suspended his hands high above the piano to allow a snapshot of Per Zanussi's luscious double bass lifting the sensual brush drumming of Audun Kleive. Almost an anti-drummer who plays with a rare sensitivity, Kleive brought balance while Zanussi matched Dale, every organic note riven with emotion.

The programme was buoyed by a relationship with the University of Agder's Live Electronics course nurturing talent and commissioning new work. The duo Propan, whose tentative performance of 'Big Fish' led to a heated breath pattern that felt intrinsically female, were a little gasp of fresh air. As was the premiere of Michaela Antalová's 'Sun's Daughter' with strings, a flute and Antalová's fujara that lulled the audience into a midsummer night's dream.

Michaela Antalová - Photo by Alf Solbakken courtesy of PUNKT

What had the loyal PUNKT audience packing the main auditorium at Kristiansand's Teateret was the concert of Molvær's 1998 album Khmer. Significant in taking a fusion of his soulful trumpet with dance beats, global musics and dub into the mainstream, PUNKT honoured the album with a big show. Molvær had two drummers, bass, Jan Bang on electronics, DJ Strangefruit and the original, terrific guitarist Eivind Aarset; these were the 'Men in Black' with stark white lighting and the volume of a sustained blast that had fans jumping. The 20th anniversary performance of Arve Henriksen's Chiaroscuro only made references to the album while Jan Bang wove in original electronic material and Kleive improvised. Henriksen's trumpet is still otherworldly, rising through ancient Arctic caves, but his inimitable falsetto vocal was more like an angel who'd landed on earth, though no less mesmerising. At the last minute he'd invited Harpreet Bansal to join the trio, a stroke of genius because melodic gestures from her Indian heritage shone while a mellifluous drawing of the bow registered the original album's heartrending quality.

Ania Psenitsnikova and David Toop were set to remix this performance but instead of making loops and samples Toop began with a pastiche of the vocals, a vulnerable half-singing before quietly playing a range of 'breath tools', flutes etc, as if dabbing spots of the previous gig onto a bare canvas. From the ceiling of this small dark room a swathe of material hung down and the shadow of a shape began to dilate like an accordion opening out, slowly an arm unfolded; this was Psenitsnikova as chrysalis becoming human body. At one point in this arial piece she juddered very slightly, she didn't fall but it resonated as a metaphor. When taking real risks in the unknown, PUNKT is at its best.