An atlas of
beautiful music in
beautiful places.

From a brutalist power station in Friedrichshain to a glass crystal on the Reykjavík waterfront, from caves south of Ibiza to a 15th-century pesthouse in Bergamo. Twenty-seven rooms where the European obsession with the long acoustic tradition meets the unrepentant after-hours and the cathedral of stone. Start anywhere. Make weekends of it.

Cape Town's Edwardian city hall and the Tankwa Karoo dust burn. Cairo's modernist opera and an Agouza jazz cellar. Nyege Nyege on the Nile, Lake of Stars on Lake Malawi, the Bedouin festival on the Hoggar plateau. Twenty-four spaces whose only common thread is the music. Cape Town and Tamanrasset are not the same proposition. The atlas knows.

Tokyo's vineyard-terrace concert hall and the Ebisu listening bar with strict house rules. Beijing's titanium-dome opera and a cliffside concrete amphitheatre two hours north. The Bhutanese spring monastery festival and a summer festival on the Mongolian steppe. The Ziro valley in Arunachal Pradesh and the Wadi Rum desert in southern Jordan. From Tokyo to Wadi Rum, from listening bar to monastery courtyard.

Hudson, New York's repurposed iron foundry on the river. Denver's red-rock natural amphitheatre. Tulum's jungle melodic-techno residency. Buenos Aires' top-five-in-the-world acoustic horseshoe. Cusco's sacred-valley medicine-music circuit. Havana's converted cooking-oil factory. Trinidad's bamboo cathedral. From the Bering Sea to the Beagle Channel.

Sydney's Bennelong Point sails and the renovated Concert Hall acoustic petals. Hobart's MONA winter solstice, where ten thousand bodies wade into the Derwent at dawn. WOMADelaide under Moreton Bay figs. Splore on the Hauraki Gulf, where pohutukawa frame the beach stage. The marae at Te Papa, the Tjibaou Cultural Centre's ten timber huts above the Nouméa lagoon, Heiva i Tahiti's stage at Place To'atā. Concert halls, marae, festivals, and one very large rock at sunrise.