Kami Maltz

With her extraordinary voice and her favourite instrument, the Autoharp, Kami creates an intimate atmosphere of magical truthfulness on stage, which is hardly found in today’s music world. Originally from the experimental Tel Aviv music scene, Kami was strongly influenced artistically by her years in Brooklyn, where she lived from 2013 to 2020. Kami’s unique selling points are the autoharp she played and her warm and natural soprano voice, reminiscent of the early Joni Mitchell.

The Autoharp is a caste cather, hardly known in Europe, usually used for bluegrass and country, but used by Kami for a completely different form of music: for a Mediterranean indie folk of peculiar beauty, who is deeply sadly colored at its core, but can turn into a cheerful electro-pop the next moment. This unusual mixture of melancholy and exuberance gives Kami’s live performances a very special appeal.

Kami will be accompanied on stage by the jazz drummer and multi-instrumentalist Stefan Vidal Schneider, who is involved in the artistic exchange with musicians from the Middle East within the framework of the artist collective “Eat the Frog”. Due to his skill and his winning nature, he is a sought-after cooperation partner and active in various musical projects and bands.

Neither Kami nor Stefan feel particularly comfortable in the corset of a particular musical genre, both strive in their openness and experimentation to overcome stylistic, social and, last but not least, geographical boundaries. One could therefore say that Kami and Stefan practice on a small scale what we so urgently need in today’s world: friendship, cooperation and reflection on shared values across cultural boundaries.

“Israeli singer Kami Maltz may melt your heart.” – Alan Zeitlin

“I love Kami Maltz and her beautiful strangeness. With her music, it’s like walking in a mysterious forest with fairies, elves and secret doors to new and amazing worlds.” (David Pearl, Telavivian)

“Kami’s voice has the dimension and warmth of a true artist, which bleeds out onto the song in an authentic way you don’t necessarily hear everyday in this disposable music ecosystem we now live in.” (Josh Woodard, Black Cat Tapes)