Gabriel Bolaños co-founded Proyecto Eco, Nicaragua's first new music ensemble, during a Fulbright stay while finishing his dissertation. Working with conservatory faculty and collaborator Guillermo Norori—a musician trained at the Royal Academy but rooted in Nicaragua's pop scene—they presented experimental chamber music at bars, cultural centers, and conservatories. Audiences proved remarkably open, even to hyper-experimental pieces that might alienate US listeners, perhaps because expectations about classical concerts were less rigid. Bolaños and his wife also launched Palenque Vivo, a home concert series funded by ticket sales from wealthy attendees, with free follow-up shows open to the public. The projects were flourishing when political crisis shut everything down. But Bolaños learned to conduct by necessity, and watching Norori pitch contemporary orchestra music to beer companies taught him how to frame the work's value from the ground up.

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