Breaks of pale sky through greying clouds welcomed a yawning audience to Vaucluse’s Strickland Estate at 5:30am. A winding path, spotted by lights and chirpy staff, led out to the lawns overlooking Sydney Harbour, where buildings, water and boats were barely beginning to stir.

American composer Kaitlyn Aurelia Smith took to the tented stage behind a desk. With Call to the Morning, she would herald the beginning of a bright and warm day with selections from her albums Ears, The Kid and Mosaic of Transformation. 

Kaitlyn Aurelia Smith performs Call to the Morning. Photo supplied

From the first track, however, it became apparent that the event had fallen victim to unfortunate labelling. Electronic or highly textural music is often pinned as “ambient”, a catch-all genre. Rather than a subtle facilitator of experience, Smith’s music was more demanding, despite it being billed as “calm” and “reflective” on its Sydney Festival website page. Though still driven by texture, it demanded attention. It was bold, never quiet, occasionally veering into experimental pop....