Archive
Session 7: Peter Dijkstra on what actually gets a band booked at Vera
Vera's booker on the two things (of three) he actually listens for before booking a band, how a 450-capacity, volunteer-run venue keeps 200-plus volunteers from turning toxic, and the real story of taking The Homesick from a local support slot to a Sub Pop deal and back out again.
Session 12: Oscar O'Shea on the two-year plan as the new electronic press kit
A 26-year-old Aarhus manager, booker and venue-builder on using a two-year plan as leverage with bookers and funders, and why he'd rather work with artists who have a non-negotiable 'special sauce' than a bigger following.
Session 11: Janneke on booking Eurosonic Noorderslag out of 4,000 applications a year
A Eurosonic international booker, and former punk musician herself, on why a booking agent isn't required to apply, why copy-paste tour emails get binned, and the 'gap between wanting to create and having to go somewhere with it.'
Session 10: Hanneke Dijkstra & Dirk Barth on what actually gets a booking email opened
Two Dutch venue bookers on the subject line that gets an email opened, why live footage matters more than a music video for promotion, and why a support slot at your own local UP night can lead straight to the main stage.
Session 9: Eva Waterbolk on building Zeevonk Records as a genre-free, no-gatekeeping collective
Zeevonk Records grew out of loneliness and a lack of opportunity into a genre-free collective that does admin together on a shared spreadsheet, over food, at someone's house. Recording for this session was lost; this is the written recap only.
Session 8: Wytse Dijkstra on rebuilding a venue in an old prison and the Pop Ronde selection game
The founder of The Beatrix, an all-volunteer venue in a 17th century prison, on Dutch anti-squatting, being on the Pop Ronde selection committee, and why being 'persistently annoying' is the way in.
Session 6: Bina Rosenvinge (Gateway Music) on distribution, playlist pitching, and why the waterfall release trick works
Gateway Music's label manager on why per-release distribution fees beat subscription aggregators for most artists, how the waterfall release strategy actually works, and why playlist pitching should never be your strategy.
Session 5: Koen (Yugo Futurism) on DIY touring the Balkans and the Tomek Tomek Tomek rule
A Dutch promoter who's built a horizontal DIY touring network from Tallinn to Istanbul on why booking agencies can't solve Central and Eastern Europe for you, and why a tour is a Christmas tree you decorate from the moment you announce a single.
Session 3: Ivo Schot on compounding, manifesting confidence, and not letting money stress kill your art
A Dutch multi-instrumentalist on grinding TikTok from zero to 14K in six months, why the best musicians in his class did worse than the hardest working ones, and why art and money are not good friends.
Session 1: Martin Aagaard on booking, curation and the wellbeing of touring artists
RADAR's director on what actually gets an upcoming band booked, why funding is an investment pitch not a handout, and why venues owe touring bands honesty about the toll it takes.
Session 2: Jesper Borup on funding art as a tool and getting started as an advisor
MOTU's founder on why 90 percent of Danish musicians have a day job, how he funds art-as-health projects, and why six months per grant application is normal.
Session 4: Mille on how SPOT Festival actually books its 200+ acts
SPOT's communications lead on why they book unreleased artists, why social following is a bonus not a requirement, and how to get a stage through a partner instead of the main application round.