Session 1: Martin Aagaard on booking, curation and the wellbeing of touring artists

Martin Aagaard, director of RADAR in Aarhus, walks through what a booker actually looks for when an unknown band asks for a slot: recorded material, a press kit, and a motivation text that reads like you understand the venue's programming rather than a generic ask. He explains why Danish funding works as step by step investment (play a few shows, apply for a bit of touring money, build up, apply again) rather than a one time handout, and why framing yourself as bringing cultural value back changes how applications land. RADAR gets 30 to 50 relevant emails a week for around 80 slots a year, so a personal, specific pitch beats a mass one. The second half turns to the tempo of the industry: the pressure to always perform on social media, the mental toll of touring, and Martin's case that venues should treat booking as a real collaboration with young artists rather than just providing a stage, because that is what makes bands want to come back.

Full transcript

Rasmus: [00:00:00] Okay. Well, Martin, I don't know what I should say about you. we've known each other for some time. I know you from, playing, playing drums in a, I don't know if I dare call it metal band. I guess there's a lot of other, other, how do you say, adjectives to that besides metal. And I've known you as a, as a booking agent also for, especially for Radar for a lot of years, and you recently took over the director position there.

So you've seen a lot of things over the years at Radar and you have a ton of knowledge around, what it is to play such a venue like that. And you guys have done a lot of, a lot of projects, a lot of work to help, young artists and also experimental artists and not the non, like, the more non-typical also artists to have a stage to play at Yeah.

Martin: Yeah, that's true. That's, that sums it up, very, good. should we wait still a little bit there, Rasmus, or should we, should we just- When do we go? ... keep going slowly, or should we just give it like- Can we just [00:01:00] get, one more minute? Yeah, one more minute and then, Yeah, peo- some people are finding the chat at least there.

Rasmus: See. Mm. James is in the chat. So James is our, our Discord genius who, every time someone can't figure something out, James has a, has a way around it. Nice.

All right, good morning. Yeah. It's, I, I'm so, I'm so curious actually where people are from. could be from all over the world in a way, you know? Yeah. Yeah. I've been looking into, there is, like, a place, that is called, I forget now, where people can, like, tell what they, like, introduce themselves.

Ah, yeah, yeah. Oh, cool. And there I've been noticing, yeah, people from everywhere. Right here it says B- Brussels, Madrid, Germany, more Madrid, Aarhus. And one just says Europe, but that's an interesting one. More J- Belgium, more Belgium, Estonia, [00:02:00] Tallinn, Sweden, Denmark. Mm. Oh, Lithuania.

Perfect. And that's also, that's also the, it's, it's very interesting, regarding the topic today is, because we're talking about, we're gonna talk about, like, booking and, direct booking. You working with a program and, and curation and so on, and, and touring and, and how the, how the ecosystem works.

But it's also extremely, extremely interesting how the, the system works in the different countries, because it's, the, the way the, the, the system is in Denmark is very different Lithuania. I went to Latvia as well. It's, so different, the whole support system there.

Martin: There's a lot of, support for the more classical, classical term of music, classical music. in the high arts of experimental music, there's a lot of funding and a lot of, like, there's a economy there. There's venues- In Latvia? ... there's spaces. Sorry? In [00:03:00] Latvia, what? In Latvia, in Riga, is a fantastic place, especially for experimental music.

But for ordinary, like, I don't know, being an ordinary rock musician, it's, it's more or less impossible. It really, it's not very rock to be a rock musician there. It's, it's- ... it's the circumstances and the, the whole system around being, like, a more, just a rock band who wants to, to play music and get out there.

It's, it's extremely difficult. it's, it's very interesting. So, so this, community that especially you and the team, the TAP team is, is creating can in the long run be very, very, Very valuable. Yeah Like, maybe could even, I really believe in the, in the, in the greater things.

these days it's a little bit tough sometimes, you know? Yeah. But I always, I believe that, in the long run it can be a, a commun- community who can also do something that can change some [00:04:00] things within the structure of the EU, for example. Yeah ... and hopefully also, go outside of the EU. Cool

Rasmus: that's a, that's, we could, we could, yeah, we're gonna talk about this. We're gonna talk about this forever. Yeah, I think, I think you're right, though. I think you are right. I mean, of course this is a project that originates from Denmark and Netherlands, but the aim is surely that long-term, like you say, anyone can join.

And the more, the more people, the more knowledge, and the more opportunities for everybody. So- Mm. I really, I really feel the same as you that it can be very valuable. It, it's hard sometimes for people who maybe doesn't have a great network to know where to go or to figure out who to talk to.

And, Mm ... if you can, if you can bring everybody together, Most of the time people... I mean, you and I have been in the industry for a lot of years now, and- Mm ... I think that we both agree that most people are always very helpful when you ask. It's, it's more can you get to that person, because that everyone's busy.[00:05:00]

Yeah, because everybody's busy. Yeah, also when you're attending, you know, you just went to Eurosonic and, you know, we have all these festivals, and we have all this networking and, so on. to me, honestly, it's, it's, it's, it's not a natural thing to, to do all the networking.

Martin: You know, it's, it's not No ... it's not... It's, it's, it's a differ- it- it's a difficult game in a way. it has taken me a lot of years to, to work my way around it, there's, there's a value being exposed, and there's a value between people, and there's a way of, yeah, let's do this together, in the context of what?

And that's, that's taken me, a lot of, years to work out to be, Yeah, it's- To, I don't know, it's, to not be a part of like a, a, a system which just, is about, finding the new talent that you can actually earn some money on for something. It, [00:06:00]it- Yeah ... it's about bringing the talent out and developing the music and the industry and the, and the circumstances for, for upcoming musicians, primarily for- Yeah

my sake, in the, in the area that I've worked with. So, so a community like this is, I hope can be a gateway for a lot of, people who don't have the possibilities maybe for going to, it could be Reeperbahn, Eurosonic, I don't know, you name it.

There's so many so many, like, upcoming festivals and so on. because you really have to invest in it as well. You have to invest your- Yeah ... own band. You have to invest your, your own life into it. And often it's, yeah, it makes sense, but if you're, I don't know, it's, i- i- it's not the easiest thing to do al- always.

So having a- No ... a, a forum, a community like this that can, like, work over time and things can start, rolling and you can actually, you can go to [00:07:00] the, to the Discord, once a week or something, and then just check out and, and keep the conversation going with, with all of the, like, whoever more or less that you actually, that some, some sort of thing, starts working out with.

You, I don't know, you, you get inspired by somebody who writes something. Maybe you can hook up with a band in a, I don't know, in, Lithuania, for example. Simonas. Yeah. That's, that's a wonderful comment. Okay. Yeah, yeah. But this is, like you say, I mean- Sorry. Yeah, I'm, I'm rambling here ... No, no, but I mean, I totally agree with what you say because it's, if you, if you're, if you're an artist trying to make your way figuring out how to create a career, there are so many things you need to do.

Rasmus: And I, I remember, I remember when, when I started playing and we had to go out there and tour and, and get to, how do you say, make something happen. And if, if, if I had gone, if I'd gone to, like, Eurosonic [00:08:00] then to try to meet people and set something up, I mean, I would also feel like, "Well, what am I actually able to really bring to the table?"

And it's, then you feel a little like, "Okay, you know, what is the leverage that I come with?" And sometimes it's good to... Good... You can find out your own leverage and find out what you should build as a leverage, as an artist before you head there. So before you spend the money on the travel and the tickets and whatnot, if you, if you don't live, in Netherlands.

I think there's a lot... I mean, I know that there's a lot of things that you can learn as an artist by just asking someone that already did it. I've, I've recorded, I don't know, hundreds of bands, throughout the years in studio and, I would often also give them some advice and help them out with some thoughts on how they could go about things.

And I talked to numerous that said, "Wow, you saved us, like, a ton of time instead of us having to figure this out." And, yeah, I would always be surprised because I figured, well, okay, you know, it's, it's the same thing every [00:09:00] time. But of course, you know, when you're a new band, you don't know what you don't know.

So asking, asking in a place like this, you can really learn a lot Definitely. And, I was, I was just, I was thinking when, when you... Because you actually have been touring a lot more than I have in, in Europe. I've, Few tours as a musician, like for real, and it's been- Yeah

very low-key, you know, and just self-financed- Yeah ... and so on. So, so using the system, the structure, you know, the MXD, for example, and, doing the funding for, transport and so on, it, it's How, how did you do in the beginning and, and when did you, like, work your way up to where it actually make, "Okay, I can actually get this, you know, I can get some support in a way"?

Martin: Yeah ... from the from the beginning more or less or? Well, I asked, I had some advice. I was, I was lucky to, some of the first tours, one of the first tours we did was [00:10:00] because I got in touch with another band and that had been touring a lot before. But I asked advice on that and, and I got a bunch of good advice that was also, "You should try to apply for funding here."

And then we were suggested to apply for funding at a organization in Denmark called Rosa that was, supporting for, more upcoming bands that went abroad. and at the same time, I had talked to a manager in the town that I was from that had given me... Like, 'cause he liked what we were doing, but he was too busy with other bands he had.

But he told me like, "The best you can do is to consider that you're writing, write a one-page PDF that is like your resume sales page. Put all the cool stuff in there, and then that's what you use." And, and then he also put me on this track of considering when I apply for funding to be more of a, like, consider it more as if you're asking investors for, to invest in [00:11:00] you rather than you're asking for a handout.

Rasmus: because of course culture money is allocated to strengthen more culture. So- Mm ... I think that's maybe how we got it early on. We would say like, "Hey, we have, played these shows already in Denmark. We have an opportunity to play these shows in Germany, and we wanna use that to build on our growth outside of Denmark."

And then we got like small amounts to go do the first tours. And then next time we were like, "Now we've done this and this, now we have a longer tour." Mm. Mm. so we sort of ... step-stoned. Yeah. Yeah, exactly. And that's, typical, especially in, in the Danish system is it's very much built up that you, it's not a handout, it's, you have to have like a perspective, you have like a, maybe a, there's a reason why you do this tour.

That's because you've got to build up a, a, a, an audience that can make sense, and then, then maybe next year you have an idea to do this other, thing. And I- Yeah ... I think [00:12:00] typically it's like that. I think just sometimes people forget that maybe a little bit, and then they get sidetracked.

It's worth remembering. What about at, what about at Radar when you host, like, if you get, This was actually also a question I saw. If I can just find that, because it might be relevant. Someone sent in a question where they're saying, and, and I guess you can take this also as not necessarily only a Danish native, but someone here says, "I'm in an upcoming Danish band, and I would like to play Sjov Radar

Martin: What's the best way to make that happen, and what can we do to increase, our chances of it?" Yeah. It, it, it depends, of course, of many things. first of all, do you have material? What,

what is the material that you have? recorded some music? that, that's, that's, that's a really good start to have, to have something that, that, our booker and, I can actually listen to. and then a, a press [00:13:00] kit, you know, with the obvious, like a bio, like a...

But also like a motivational text that we want to play at Radar because we, you know, we love the venue or, or it makes so much sense, for example, thinking as an investor again, it makes so much sense for us where we are in our, in our career. You know, we played many other places and then now it's time for us to really try to, to have a headliner at the, at the, at Radar and we believe with, that we can, that we can really make it happen and, and we already played a few other places where there was like, I don't know, 100, maybe 100 attending or something like that.

Yeah ... and then, if that's, that's like a headliner, and then it would be nice to have interesting, insights in, in what the- What the perspective of, of the band are. Like just, yeah, we're gonna do this. We hope to, to, to manage to, to have like a broad, [00:14:00] like a, a full Danish tour, or we would like to play a one-off at Radar because it's, it's, it's, it's a special opportunity, in regards of our new album coming out.

But we, we haven't, we're not gonna go on a, on a, a broad tour. We're just gonna do like few shows that are focused on the new album, and we're gonna do a lot of, advertisement plan, so we have some strategic ideas about how to reach our, our audience. and we would like to, to work together with the venue.

And that's also a very, very, like a pro-tip at least for, for playing at Radar is- ... it, it's a, it's, it's a collaboration. It's, it's- Yeah ... it's, it's, we don't think ourselves as a venue who just presents stuff, you know? It's just, it's not- No ... it's not, it's not like, "Okay, we have a stage, and then, and then you you gotta come play, Thursday, and that's cool.

Okay, fine. See ya. Here's a banana. Let's [00:15:00] see you, see you go." it's, it's a collaboration. It's, uh, it's, it's, it's a way that, the institution and the arts can work together. We can learn from each other. We have, we can, we have a lot of things that we can actually, collab about, which will- Yeah

make the whole event and everything around it much more stronger. And I must say some of the- The worst to do something and, and the intention was good in the beginning, and then Yeah ... then it starts fading and, and the band doesn't have any, you know, there, You can just feel that the, that the band is, is slacking, on a lot of things.

Yeah. And then finally there's, we, they just meet up, they, you know, they meet up the day and, "Oh, shit, yeah, we forgot to, we actually forgot to, to say anything about it to anyone." [00:16:00] So now, Yeah ... now we, here we are. But that's also, that's also a part of, of working with the, the upcoming artist, and we are sensible to that.

We know that. So that's also why- Yeah, that, that will happen ... we want to collaborate. I've been there myself many times, you know, you, you're a band, you've actually managed to record this album. You, you've actually managed to, you know, to work as a band. It's, it's tough work, you know.

To be in a band often it's, it's not an easy task, you know? and I know all about, the fatigue that can actually happen with the communication and the branding and the, the business side of it. Yeah. Because you are actually so focused on the work and on the, on the music that you're gonna perform on stage, and I totally understand.

But, and that's why it's very important to do the collaboration and actually say to the venue, "Oh, we are in the middle of, like, a [00:17:00] full-blown, uh, deep dive in the material so we can do the best, uh, performance ever, but we need, we need some help with some press material, uh, you know, some... Can we do some with an Insta, like an Instagram stories, the campaign," whatever, stuff like that.

And that's- Yeah ... very important, yeah. Um, yeah, it's, I see Simonas here. Yeah, it's- Sorry. I'm sorry. What you say? It's... Now,

Rasmus: Simonas was saying something with a slide presentation. But I think Sim- Simon, what we're doing for these sessions is we're not doing it so much, uh, we're not doing so much, uh, how do you say, like, a super structured thing. These are, like, sessions that are planned to be more a conversation. Um, so the, the traditional way of doing, how do you say, this sort of thing is exactly what you asked for.

But we're trying to do it a little different also so that it becomes more [00:18:00] down to earth and low-key and, and just a conversation. Actually, it's on, it's on purpose to not set it up with, like, a slide presentation and, and, and all this stuff. Um, I see James also answering on sound. I think it depends on your internet speed potentially.

Uh, might be the, the case. But, uh, no, but I, what I hear you say, Martin, in this is also that if you are an upcoming band, of course you will not do everything perfect, and you guys as a venue are aware of that. You cannot expect, how do you say, you cannot expect the same from a, a, a upcoming band as you can from a band that has a management and agency and booking agency and everything.

It's not the same setup, but it makes a big difference for their opportunities in the future how much they actually show that they... Initial- Well, initially first, when they want to book, they, they need to show, they need to show that they're [00:19:00] serious and that they have something happening, and they're not just like, "Oh, can we get a show, by the way?"

And then it will also increase their chances of playing another show there, depending on how well they perform. So if they, uh, if they make a deal with you, and you engage in a collaboration, and they say, "Yeah, but we're gonna, like, share it everywhere and get our friends to come," and all this, and then in the meantime they get sidetracked, so they do nothing, and very few people show up, then, then of course the next time it's gonna be harder to get the show 'cause they'll be like, "Yeah, we want a show now also," you know.

And you'll be like, "Yeah, okay, but last time you guys didn't really do much." So of course it's like, uh, even though it's hard to do anything and you understand that they can't do it all, then it is something that can greatly increase the chances for a band to be able to come back Yeah. Yeah, totally. And, and, and also the, um, yeah, the, and, and, um, and of course there's the aspect of, uh, programming.[00:20:00]

Martin: You know, there's, we have a broad, spectrum of genres. We are presenting a lot of different genres, but, so, so it's our, like, curating, I don't know. it's our job to present and to promote a, a, a broad spectrum of, music genres, so we can't just do, like, metal from January to May, and so on.

So, so it's, it's very important that we have, like, a very diverse, diverse programming, and that's- Yeah ... so sometimes you just, maybe it just doesn't work with the rest of the programming. And, and often, often I, I also, that's also my feedback, and also my, my reason of, turning a, an idea down is it's, we, it, it doesn't fit the programming for now, but, we would like to, to do it in the future, so so maybe next year.

And, you know- Yeah ... a, a year can go can pass by pretty fast, actually, in the, in the, in the [00:21:00] venue, at a, at a music venue. But often we work as... I, I would like to have that it's actually possible for a band to, contact us and then have a, a gig in, like, three months, because it's very important, or else it gets...

Or else it's, it's, it's more or less the, the bands who have, like, long, planning, long-term planning. That's- Yeah ... and that's, often not the the upcoming bands. It's, it's bands with management- Yeah ... and so on, often. And, Yeah ... and if we just do that, then there'll be, like, no upcoming bands who have a chance.

Rasmus: So, yeah. So we, That's actually- Yeah ... when you say that, Martin, I'm just gonna go... I see here the, I don't know how to say the name, Hehe XP. I'll just... Okay, I think that's, that's- ... recent. He... Okay, XP. XP. Okay, I call you XP. That's easier. He's asking, like, "How does one reach out to venues if you have zero connections?"

Martin: Like, do you just [00:22:00] DM them through social media, or what is, Yeah, what is actually the best way nowadays? Because it's always been email, but probably your email inbox is, like, fucking, you know, overflowing. So what is the best way to, if you don't know anyone that can give you an intro? I'm, fully emails for us.

Okay ... and, and just to put it, you can go to the website, then you can... I don't know. often, often I think you can get through the... And- Absolutely ... in a way it's, it's actually... I don't know, Rasmus. Actually, I think maybe it's, it's, it's very difficult to get through an email, for many venues. Yeah But at least at our venue, it's very,

much... I have notes- Yeah ... some things on Instagram and so on, but it's, it's so difficult because it always ends up on email because they have to send stuff, and so on. Yeah ... and, and I must say- Again ... through the... Sorry? Oh, no, no, what you were saying, through the years? Yeah, throughout, yeah, throughout the years it's, it's,

I at least have [00:23:00] developed, like, a system in the mailbox. So it's full of flagging- Yeah ... and it's full of, like, Yeah, it's, I have, like, all the flags in the world. I use all colors and, and put it into system. so there's not actually, there's, there's no emails that goes, Is left unseen, actually.

Rasmus: but of course- Okay ... there's a lot of emails that are not reacted to. But I see- Yeah ... everything and, and, and I, yeah. So, but, but Instagram- How many, Martin, Like... Yeah, sorry. So how many emails do you think you get a week, every week? from bands it's, I don't know, maybe 30, 40-something. I think that's, Okay.

Yeah, every week Yeah, yeah, that's- And then you get from promoters also, or what, on top of it. Yeah. Yeah. But- It's also, it's, it's, it's a lot, you know? It, it can be, it can be some [00:24:00] totally, far out, Grandmaster Flash, cover band, you know? You know, that's, that's, you know, it takes, like, minus one second to actually work that out, right?

Not gonna happen. Not gonna happen. Yeah. Like, so, but relevant emails, like fully relevant is maybe, like, 40, 40 a week. I think that's my, 40, 50 a week, something. That's still, I mean, that's also a lot, like, because of course your whole job is not reading and answering emails. And, and I think that's what, what is maybe worth for some artists to remember is that just because you don't get an answer doesn't mean it's not a fit.

It just might be that, you know, it got lost in, in all the other Mm ... emails and all the work that needs to be done, and maybe it wasn't a fit right now, Mm ... but it could be later. Yeah, and it, it's, there's no shame in doing a follow-up. You know? It's, it's, like ping it or something.

Martin: It's, it's [00:25:00] so cool because, man, I've done it a lot of times, sitting and reading an email and listening to the music, and I just think, "Yeah, that's, that's a no-brainer. How cool is that?" And then, then some- Yeah ... you know, then the coffee machine breaks down, or the toilet, went out the window. You know? Or, you know, some just opens the door and says, "Hey, Martin, there's a, the fire alarm just went off."

And then, you know, and then, and then I just forgot everything about that email. So that's also... And, and I think that's typical for a lot of venues, that the booker has a lot of other things, to do. So, Yeah ... and, and we only have, like, 80 slots per year. That's around 80. You know?

That's only, like, 80 nights a year. So if we get 40, like, relevant- Wait ... bands a week, then it's

a very- That's 160 a month ... hard one. It's just... Yeah. Yeah. So, also makes... You know, so if you just react to every, every, [00:26:00] you know, great idea, like every time, then you have booked, a full year's program within, two weeks. it's just- Yeah. It's, it, it, it depends. There's a lot of, there's a lot of aspects in it.

Rasmus: Yeah ... so, so it's- Would you say- Yeah ... Martin, can I ask one thing? Because I'm thinking, like, so XP's asking this, right? Like, okay, what is the best way? I don't know anyone. Mm-hmm ... how should I do it? Is it maybe, is it a better- Does this make a difference? Is it a better way to try to find someone that knows the venue Like, if you, like, would it be better effort done by a local artist or upcoming artist to say, "Okay, can I find out someone that knows the person checking the emails and have them present it?"

Martin: Is that better than keep writing emails? it, it, it depends again. But, but often, often I, I would... It's emails is, is, you know, it's, it's, it's, it's been [00:27:00] s- it's been quite, you know, sometimes when, when, when somebody knocks on the door and they come in and they, you know, they, they talk about they have a friend who has this band and it's really cool and, and so on, it always ends up with, like, "Just, just send an email and then we'll work on it."

And- Okay ... but of course maybe psychology, psychology, like in, in the back of my mind, I have this, recommendation. That's, that's for sure. Yeah. But the best recommendation is to actually experience music somewhere. You know? Yeah. to get the invitation to go watch a show, with these, with this band somewhere.

Oh, yeah ... that's, that's the best, that's the best recommendation. yeah, I don't know. It's, I'm not, I'm not, I'm not really I'm not so specific about that. but- No ... often it can get a little bit more awkward actually sometimes if we get somebody's recommending, recommending it for for a friend, and then, and then, yeah, okay, cool there.

Rasmus: Yeah, and then if it's not relevant, then it's [00:28:00] more, then- That's true ... yeah, I don't know. Then you need to be, be really honest. Yeah. Then you make them sad. Yeah. Yeah, of course. Yeah. Okay, then I, I actually have a question then. Would it be, is it beneficial if more artists, more emerging artists, like, team up and suggest a shared evening?

Martin: Or is that just the same? Would you see that as the same kind of reach out? Yeah, we do that. like three bands or so, and then they play maybe like 35 minutes each or half an hour each. Yeah. Something like that. And then, then they go together and do the, like do like a concert maybe or, or, or just, just share the, the promotion, like put the energy.

Maybe, maybe there's like, you know, one, one from each band who are really good at, at doing SoMe, and then they, then they team up, and then they're actually three people teaming up, doing a lot of [00:29:00] cool content or just, just being aware of, of the, of the, the advertisement of the, the night.

And that, that can actually create some really nice, Of course, the deals can't be like really, you know, it's, it's, it's not the highest fit when you're like three bands. But in that's, you know- No ... it's, it, maybe you should see that as an investment as well, you know, that, yeah, maybe it's not the highest fee, but at least we don't, we won't we won't have to pay for anything.

Yeah. But we have all our costs covered. I guess kind of. And then we just... Yeah, exactly. So- There is- I, I, mm-hmm?

Rasmus: There is the one actually who mentioned asking, also sending a question. Yeah. That is, it, it's not a 100% the same, it's maybe a little different, and there is some detail in it that I think maybe could be interesting. So this person is asking, "If I were to host my first [00:30:00] music event..." So I don't know if this is actually, like a promoter or an artist, question, so it might be a little both ways, go both ways.

"If I were to host my first music event, what tips could you give me as a beginner? Should I try and find a sponsor as the first priority, or should I try to find the right venue first? How what, what, how should I go about this?"

Martin: I would recommend the, the venue Yeah but it's also interesting because often it's very, very, very rare that we have, anything with events where- Yeah ... at least for, for our, our venue, it's, there's not many, sponsored events. No And, Maybe that's more a, a foreign thing. Maybe that's not so Danish because we have the funded venues.

Yeah, I think so too. Yeah. So, so, but, but, but in, in, you know, [00:31:00] the, the few, the few sponsored events we've had, it's, it was just, yeah, fine. You know, it was like a bank or something who- Yeah ... who, who made it a VIP... Not, not a VIP, but they had some tickets for their, I don't know, that's the, the, the HR, the human relation department of this bank, and then there was- Okay.

Okay ... maybe 20 coming from that, and then they, they, they sponsored, the rental of the piano or something. I don't know, something like that. Yeah. And, I'm just, I'm totally, I'm totally cool with that. but we don't use... It's not it's not sponsored. There's not so much sponsored events, because we are not, we're not in that way a like a commercial venue.

and that's also- Oh ... different from a lot of other venues when you go more south. you know, it's, it's, it's, it's very it's funded, and we have to earn money, yeah, but, so we can do some [00:32:00] investments. We have equipment. We need some new equipment. We need like new chairs, a new, I don't know, a new printer maybe at one point, some stuff like that.

but we are, we are funded by, by the and, yeah, the, the municipality it's called in English, and then the state. Yeah. And that's our, like, full grounding of, what do you call this? Like the budget. It's built on, on, on this funding. So- Yeah. Okay ... yeah, so- Yeah, that's, that's a bit different

Rasmus: that's, that's how we go. Yeah, but we of course, we have to- I see ... because it's, it's not... Yeah, but... Yeah, sorry? No, no. What you were saying? No, I just, I just wanted to add that, UMA Spot had a a comment here. Yeah, I see that. Can I read it as I ask for you? A beautiful question. Yeah, yeah. maybe should I, read out

Martin: that or? Yeah. Yeah, you go for it. Okay. Okay. I saw an [00:33:00] open call on RADA's website titled Let the Your Cross Aesthetic Project Take Shape on RADA. Is this program open only at the national level or do you also consider international artists? primarily it's, it's national.

actually part of, a bigger like project which is combined with another, another funding structure for, cross aesthetic projects. but I've really considered your question, Uma, because, I got a beautiful, email actually from, an artist from, from Ukraine who wanted to apply for the...

Yeah. To doing individual mobility fund with, within Culture Moves Europe this year. I really found that very interesting and that actually it maybe work out. But as the more I read the, I, I read the, yeah, what do you call it? The framework, for the [00:34:00] mobility fund is that, or was it the residency fund?

I can't remember. It, it, it had to be like three months or something. So it seemed like a long time, and no one has stretched of three weeks. but Uma, I, I would, in a way if you see some idea, I think you ... I, I would like if you, if you write me and then I, then I can, then I can, I can take a, like a serious look at it.

because it would be really cool to have, okay. Okay, cool. you, you know, that stuff like that can actually happen then. Yeah. Then I think you should, Nice ... you should, write me, Uma's part. then we can work something out, hopefully. I'll definitely take a, take a, serious look at it and see if it, it can fit into our, our schedule somehow.

Rasmus: because I would really love stuff like this to happen, very much Yeah, you guys at RADA have done a lot of projects over the years also. So, like, it's, it... My impression has always been that RADA is, like, if, at least in [00:35:00]Aarhus, if you want to try something as a on a project level within music and you're serious about it, then RADA is a really good place to go for.

Martin: If, if not a direct project, at least advice on it. Yeah. It's it's been, from the beginning, it's been, like, our whole, like, mission, vision, which also is stated into, in our, what is it called? Like, vedtægter, you know, like, the, the full, institutional, vision is, and, and way of working. Our methods throughout the years has always been on, improving and developing art.

That's in all aspect. mainly, of course, through concerts and music and different formats within the music scene, but also where sound is, is, is important. It could be sounds. we, we are... We have a really nice black box actually, with high-end sound [00:36:00] gear and everything, also really good projector stuff.

So I think, I think, RADA is more like a, like a platform, like a experimental hub, more than just a venue. If you, if you ask me, a late night, and I would say that more like a it's, it's... That's my deeper vision, is to have, like, a culture platform, where there's also residencies as we already, has, but also, art installations and, and screenings and so on.

It could be many things. we also have workshops, the, the cultural production center that we are actually a part of. So you can also, as a resident, you you have, like, like, you can with the graphical design. You can work with metal. You can work with, textile. You can work with, like, wood.

You can do a lot of things. So you can actually build installations, Part of RADA, like as- ... inside the venue. Yeah, yeah. Okay. I didn't know that So, so to me, [00:37:00] yeah, to me it's, uh, it's, yeah. Now, now we're getting out, out really a path. But, but it, it just, you know, it's, it's, it's, it's more than just, uh, it's, it's part of it, but it's just, it's very important for the institution to be, uh, to able to also adapt and be sensible towards, um, tendencies.

And, um, for example, we, we felt that there's a lot of, uh, things going on within the experimental art. There's concerts, but there's also, uh, a need for, for space to, to develop and, and have a process going. Um, and that's- Yeah ... that's, we also want, um, this one. But I guess then you, if you're an artist, you, there's just more opportunities in, in [00:38:00]essence.

Like, you can, if you have bigger visions or more ideas or wanna try more things, you don't... Like, it's not only contacting RADA for a regular concert, it can be with all kinds of ways to perform your music. Yeah. Definitely, yeah. Exactly. Um, yeah, it's, it can be, yeah, totally

Rasmus: That's pretty nice. I see we are coming up on, on, uh, the hour being done. We set off always like 45 minutes for these sessions and then 15 minutes of, how do you say, cool down or if there's any questions or anything we didn't do. Is there anything, Martin, that you feel like you didn't share today that, uh, is worth sharing?

And, uh, and if, if we're, when we're done with this, if people have any questions for you, can they just, uh, tag you in this Discord maybe or, or something similar? [00:39:00] Yeah, they can, yeah, they can reach me here or just write me, uh, on, um, on, uh, on my email. Just this. Um- Ooh ... I was just thinking, I was just thinking, uh

Martin: Yeah. M- maybe, um, I was just going through my notes actually just to see if, if, um, I think, I think maybe, maybe something that we didn't, like, f- fully, um, come around, which I think would be nice to just, just, just, uh, talk a little bit about is, like, the wellbeing and the pace in the music scene. Because- Yeah

the, the, the idea about, like, constantly have to perform [00:40:00] something, like performance. You have to be on the, on the, on the, on the SoMe all the time. You have to have, like, you have to, you have to... As an upcoming artist, you have to do the music, you have to do the, the, the touring planning, you have to do the, you have to actually practice the music.

You have to, Yeah ... have some friends who comes to the music, attend. You have to... There are so many things that you have to take care of, and it can be, it can create, like, a huge mental pressure actually. Mm. Yeah. So as, as a musician, that's, that's, it comes with a lot of insecurity, and it comes with a lot of self-management and, that's very important to address that.

and that's also something that, that I hope that this community can be, be a part of. to address stuff like that because it's really difficult. It's, it's very important to... And, and you, Rasmus, as well, you know, touring again and again, it's, you know, you have to... Sometimes you [00:41:00] you can only rely on your hope, and then you come back, and then you're, like, tired as you have so many great experiences, but you're also tired as, like, never before and- Yeah

and then you have to gear up for yet another round. and maybe the drummer actually said at the last gig, "I'm, I think I'm gonna leave this band." So, you know, You have, you have, it's- I- Yeah. That's right Mm-hmm. so I think it's, it's very important for, for, also... And that's, that's why I said that the when you, contact, Radar, for example, and, I think that's, that's a great idea for, for all of the, the venues is to do collaboration seriously.

You know, actually take responsibility for the culture and actually also, like, the tempo of it. of course, it's, it's, it can be pretty, you know, can be tired of, [00:42:00] of a band coming back or not being able to advertise, stuff like that. But it's also the job for the venue to be able to to see, but there's a reason for that.

You are in the rehearsal room, like, every night. It makes sense. But can we just- Yeah ... we can help you, you know? We can help you as well as you help us. so these small changes and, and ways of thinking as a, as a music venue, can actually have some real impact on, on the upcoming scene.

And hopefully can, it can do some in the long haul, do some structural changes in a way because we as institutions can also, work within the the system, and the, and the funding system and the framing of, how- The, like the structural systems work maybe gets a little bit too, like, political now, but I just, because that, that, that is what we are working for as well, [00:43:00] a lot of, a lot of our venues.

You know, we can actually go into... We are talking with the, with the ones who are defining the structures where within the funding, like politicians and, municipality, and we have a saying there, and, and we can be the- Yeah ... we can be the, what do you call this? Like the, the voice of, the upcoming scene.

Rasmus: So, yeah. Yeah. I, I think when, when you say this, one, one thing that, that comes to mind is that it's probably a really good thing for artists to consider that it's okay to voice that it's difficult sometimes. I think artists have a, maybe you have, you have a feeling sometimes that, you know, you need to be on top of it all all the time, or it needs to look right.

especially social media is a big thing about that. You know, it has to look cool, it has to look like, you know, you got it all covered and you're always, you know, moving forward. While actually the reality is that there's a lot of [00:44:00] hassle and there's a lot of, like, falling periods or, or, or valleys where not a lot of things happen and you feel like you're a failure.

And, and I, I think it's, it's, I hear you say the same in terms of this collaboration around a concert with a venue is that as an artist, you probably want to do all these things. But then you come up short because it's a lot of work on top of what else you're doing. And just to voice that to the venue and say, "Hey," like you said before, you said the, "Just let us know that you're busy with something.

Martin: Maybe we can figure it out together." So this, like, dialogue and honesty and daring to say like, "Hey, I may be coming up a bit short on the social media strategy. How can we work together on that?" Yeah. Exactly. Exactly Yeah, it's it's a, yeah, it's a lot of work to be an artist nowadays. Yeah, exactly, and it, it's just, it's, it's essential to, to, to share and, to, to listen [00:45:00] to to each other and stuff like that.

You know, it's, yeah, yeah, just to share the, all, all the ideas and, and exactly as you say, not be... You can easily be wind up with all this, because it's, it's it's hard work, but it also, it's very important for us to do it, and for all the musicians out there, and for, and not not only for the musicians, of course, for the greater good in the world, of course, you know.

Rasmus: Yeah. music makes the world a better place, you know? So, so yeah, but we have to have ourselves with, it's not only, it's not only about the music, it's also about the people. Yeah. Very true. Hey, Martin, thank you for taking the time. Thank you also for RADA, for being a valuable partner in this project, and, I'm, I'm happy that you took part.

I'm happy that you're in the community, and, thank you for sharing your email. if anybody wants to hear anything from Martin or ask him questions, send an [00:46:00] email to the email he's dropped here in the, in the comment section, or try to see if you can @ him on Discord in this, community. I'm not sure if people answer always super fast, but, if you tag, if you tag a person in here, you will see it next time you log in.

So I think there's a pretty good, chance of, of getting an answer if, you have a good question. Mm-hmm. Totally. And, and thank you for... Actually, I think the format is, nice, with only voice. That's- Yeah ... it's been quite, chilled. sometimes- Nice ... video and so on, especially also for, for the audience, if everybody has to be, like, on video and so on, it's, it's, it's...

This is actually pretty chilled, and, ... it, it makes you reflect easier in a way, actually. So Yeah ... to thank you for, for the format. Nice. I'm I'm happy you think that. Yeah, we, we went with the voice only because it seems more laid back, not so official, and yeah. I'm, I'm glad to hear that, that you were able to reflect better.[00:47:00]

While you were talking. Thank you, Martin. Yeah. All right. Yeah. Thank you so much. Thank you everybody, and, we'll, we'll see you next time. Maybe we'll... I think we'll put some, a few things from the, from the chat maybe out, after online, but Ina, who is, in charge of all the social media and communication, will, will let me know how we're gonna fare there.

So you should, get some notifications on the Discord. And, if you have any friends that are into music, artists or industry professionals or just getting started, do invite them and ask them to come hang out. Maybe they can learn something Perfect. Yeah. Okay. Yeah, man. I'll see you. Have a nice time.

Martin: See you. Yeah, have a nice Sunday, everybody. Wednesday. Bye. Bye-bye, everybody. Take care. Bye.