BIG EARS FESTIVAL

Accessibility

BIG EARS WELCOMES ALL MUSIC LOVERS!

The festival takes place over four days in more than a dozen indoor venues, including theaters, churches, clubs, and other public buildings all within an approximately three-quarter-mile corridor in downtown Knoxville. Big Ears Festival venues are ADA accessible in accordance with Section 504 of the Rehabilitation Act of 1973 and The Americans with Disabilities Act of 1990, though the exact accessibility specifications vary based on the venue. This page is intended to assist festival patrons with advance planning and answering any questions.

Patrons with Mobility Limitations

All venues are wheelchair accessible. In some instances, venues may have accessible viewing areas designated for wheelchair users available on a first-come, first-serve basis. (Please visit venue websites for detailed information about their Accessibility policies, or contact us.)

Public Transportation

Knoxville Area Transit (KAT) buses and free trolleys are accessible. See detailed information here: www.katbus.com

During the festival, extra trolleys will run special routes– especially for Big Ears attendees – details will be made available before the next festival.

Parking

There are many convenient garages and lots in downtown Knoxville. See:  https://www.downtownknoxville.org/explore/parking/?t[]=37

Be sure to ask the Big Ears staff or volunteer ambassadors for any additional accessibility information at the festival info booth located at the Jackson Terminal. This may include questions about specific venues, information relevant to festival patrons with disabilities, or maps and other programming information.

Questions? Email us: [email protected]

BIG EARS
03.27_03.30.25
Knoxville, TN · USA

PASSES DONATE

Festival

Explore the lineup of upcoming Big Ears performances.

Explore

Discover travel, lodging, & dining options to enhance your festival experience.

Support

Big Ears is made possible by the passion & generosity of our supporters.

About

Learn more about what The New York Times calls “one of the world’s greatest music bashes.”