Adventurous Music Plateaux
digital circulation and engagement
abstract
Combining Dolby Atmos (a sound format that took the market by storm, with key figures such as Apple promoting it, to be heard even through AirPods headphones, streaming platforms like Tidal having it as a substantial version of music; all topping albums are nowadays produced in Dolby Atmos version, the format is present in almost every smartphone) with live performances recorded using a multicamera 360 VR spherical video technique (novel, engaging, immersive, and export-friendly way of presenting live music content).
What is extremely important is that these audio and video formats can be “consumed” independently. In other words, without needing VR goggles, one can play back a concert on a Dolby Atmos system (or using AirPods or even a smartphone). Similarly, you can reproduce the concert visually on a smartphone or in goggles, not having the full Dolby Atmos setup.
ACTIVITIES
Source material is needed to test the solution extensively. And different environments, and parameters – to test effectively the solution’s stages (recording, mixing/postproduction, content distribution, outcomes’ attractiveness). We aim at the intersection of jazz, improv and electronic music.
3-day editions will be held (one in Iceland, one in Portugal, and one in Poland). Each will consist of 2 concerts of bands, 6 music workshops for participants of various proficiency, and 1 expert workshop for all participating (musicians and workshop attendees) providing extensive practical info about the possibilities and usage of Dolby Atmos and 360 VR (digital upskilling).
Special music projects will be initiated between musicians from Iceland, Portugal, Poland (and Ukraine). In addition, a platform/database will be developed for musicians, workshop attendees and professionals invited to the events, to further facilitate seamless exchange and collaboration within the music community.
Activities will be held in cities of various sizes and specifics. Differences in each country and city chosen will make testing more effective (technically-, content-, and promotion/distribution-wise).
Inclusion (counter gender-gap) and (social/physical) accessibility will be implemented throughout all project activities and emphasized in several elements.
Extensive promotional and informational campaigns will focus on Dolby Atmos/360 VR outcomes published online. We will confront the differences in markets, areas and fanbases of musicians participating when procuring – and later analysing the data.
A written report/case study that will include A/V elements, will summarise the steps and serve as the manual and (together with the testing process) provide a scalable model of this multi-component solution to be used further on a multinational EU level.
Connections x Exfila
music export
abstract
Our project aims to promote musical projects—at local, national, and international levels—in a key live music venue in Florence, Exfila, through an innovative approach based on youth volunteerism, adaptable to different local contexts and therefore exportable. By creating and training a group of shared and distributed artistic direction, composed of volunteers under 35 from Florence, and collaborating with local entities that are aligned in vision and qualified in booking and music management, we will first identify some of the best artists for quality, innovation, and experimentation in the local and European fields. We will then proceed to set up a program of 8 concerts and musical performances to be held in a venue in Florence managed by our association, Exfila.
The cultural offering we propose aims primarily at originality and research in the musical field, setting itself in clear contrast and alternative to what the city of Florence has not been able to guarantee for many years: despite its nature as a world-renowned destination for its invaluable artistic and cultural heritage, phenomena like unsustainable overtourism and the consequent gentrification of many once-residential areas—as revealed by a study in March 2024, which found 9,284 tourist rentals in the UNESCO area of the city alone, out of a total of 12,578 in the entire municipal territory—have led to a dominance of entertainment-oriented events aimed at mere consumption rather than cultural promotion and the enrichment of individuals and the territory.
In this context, we set three specific objectives: 1) to create a concert series through shared, inclusive, and distributed artistic direction by forming a group of volunteers under 35 who will acquire knowledge on the production and organization of live music events; 2) to promote and implement concrete strategies and actions that transform the project venue, Exfila, into a plastic-free space, aiming for zero impact and being at the forefront of ecological and environmental sustainability; 3) to identify, promote, and develop an audience potentially attracted to events dedicated to promoting the most interesting realities of the independent European music scene, and the local independent youth music scene, aiming to grow and retain this audience over the 12-month intervention.
Starting with the formation of an informal group of peers (under 35), selected through a local call (A1), who will undergo a training program (A2) focused on all aspects necessary for organizing artistic-cultural activities, the beneficiaries will be guided through a process that will lead them to create a collective and shared artistic direction. This group will be responsible for designing, programming (A3), and implementing a series of 8 concerts where they can apply the experiences gained, showcasing independent musical projects from both Europe and the local scene (A4). At the end of the project, to make processes, tools, and activities as replicable as possible, we will produce several materials (methodological booklet, qualitative interview videos, photobook, reels) and hold a plenary feedback meeting (A5).
A crucial role in achieving the project’s objectives will be played by Novaradio, a community radio station published by Arci Firenze since 1992. Novaradio will handle communication, feedback, and dissemination activities for the project.
Finally, the particular network structure of Arci Firenze in the territory, which gathers and coordinates 250 associations and 40,000 members in the province of Florence alone, and the development of its artistic-cultural activities aimed at younger age groups, which have significantly expanded in recent years, will ensure the involvement of at least 20 young people under 35 residing in the province of Florence and engaged in volunteer activities in the area.Integral to the project is a focus on capacity building and learning. We will conduct targeted trainings and workshops during the SoAlive Music Conference, equipping artists and industry professionals with essential skills and knowledge. These sessions are designed to enhance participants’ expertise in various aspects of the music industry, fostering a well-rounded development.
An additional component of our project is the development of a new platform and database, inspired by the model of Indie on the Move. This platform aims to facilitate seamless exchange and collaboration within the music community. It will serve as a dynamic resource for artists and professionals to connect, access opportunities, and share information, mirroring Indie on the Move’s comprehensive approach to providing valuable resources to independent artists. This multifaceted approach is aimed at building a vibrant, interconnected Balkan music scene with a strong international presence.
The SoAlive Music Conference platform aims to create a comprehensive and in-depth map of the music industry in the Balkan region on a dedicated innovative SoAlive (BBB “Bridging Balkan Borders”) platform.
Creating a regional digital platform with a database for music industry professionals and artists to help improve networking/exchange and create opportunities for a better environment, collaboration and interaction between musicians/professionals from the Balkan region.
For musicians/bands and agents
• Securing more concerts and better tours with the most complete and up-to-date Balkan music venue database and reverse index on the web, including contact information for hundreds of agents and program directors of music venues and instant personalized alerts for available performance opportunities.
For music venues and promoters
• Never an empty stage with our geo-targeted artist availability system and email alerts for music venues, independent promoters, club agents and bands. Post available dates and cancelled gigs, search and find music artists of all genres to fill available gig dates. Database of music and links to help the music venue choose the right band for the right event.
For record labels and music managers
• Access to information and resources for expanding, maintaining, marketing and promoting artists.
Resources for press, radio and media contacts. Weekly updated blog with best practical information, free resources on music business topics and a network of music companies and managers.
By interlinking these elements – songwriting camps, listening sessions, capacity building, and a dedicated platform – “Bridging Balkan Borders” seeks to create a robust ecosystem that supports and amplifies the talents of South East European artists, propelling them onto the international stage. Our goal is to transform the regional music landscape into a vibrant, interconnected community, thriving on collaboration, innovation, and shared growth.
Cosmos
digital circulation and engagement
abstract
COSMOS: A Hybrid, Global Music Community is a European initiative that amplifies underrepresented local scenes from around the world. Through documentary films, interviews, performances, artist residencies and more, we connect international music communities and empower them to share their stories. We build long-lasting relationships and an ever-growing network of partners that support, inspire, and educate each other.
COSMOS was born out of Le Guess Who?’s mission to platform adventurous sounds and foster anti-algorithmic music discovery. With COSMOS, we build deep connections with audiences everywhere and transform passive listeners into committed followers. Our project has 2 primary objectives in tackling the challenge of using digital circulation and engagement to innovate the promotion of new music and artists abroad. Across 12 months COSMOS will (1) evolve into a full-fledged editorial platform with dedicated social media channels and (2) expand and strengthen its network of music scenes, also known as Embassy partners.
Meaningful collaboration is integral to COSMOS and will be reflected in 5 new network Embassies, who will continue to drive our artist-led editorial platform. This will include: commissioning 5 short documentaries to offer artists the opportunity to represent their local scenes, in a manner and aesthetic that feels relevant to them; monthly DJ mixes (broadcast via 1 European community radio partner); monthly magazine-style newsletters via Substack that delve deep into music news and artist profiles guided by our Embassies; digital editorial features on the COSMOS website (interviews, long-reads, news). Through dedicated editorial content across 12-months, our audiences will develop deeper cultural understandings with our Embassies, and stimulate a culture of active participation in the global music community, through content that retains relevance long-term. This editorial arm will also allow us to be a continuously strong partner to new and former Embassies. Simultaneously, we’re building a digital infrastructure (email chains, Discord, online meetings) for our partners to connect, compare and collaborate.
This project will facilitate 2 in-person exchanges: (1) Embassies will participate in an annual meet-up at Le Guess Who? Festival, which acts as an opportunity to platform our partners at an event that attracts 20,000 visitors each year. Occurring at the start of the project, this acts as an opportunity to develop new professional relationships and cross-cultural understanding in the network, that will later support remote collaboration; (2) the pilot of a new Artist Exchange initiative, that supports 2 representatives from our network to become artist-in-residence at different Embassies in 2 of our partnering cities. The results of this exchange will be shared on our digital editorial platform and social media channels.
The COSMOS project team understands the challenge of launching a new digital platform in today’s rapidly changing online media landscape. Support from LIVEMX provides integral resources to expand on the successful outcome of past editions, and the support of an award-winning festival whose marketing and communication has driven COSMOS to become what it is today. Now a network of 30+ partners, we approach this project with the support of initiatives across Europe and beyond who will fuel our capacity to grow.
The success of COSMOS’s approach in tackling the identified challenge will be assessed throughout the project: both quantitatively through visitor/ listener stats, and qualitatively through testimonies from collaboration partners and audience feedback. Our results and methods will be distributed as a report to relevant stakeholders such as music festivals, networks and initiatives across Europe, with the intention to further stimulate a shift in understanding the transformative power of digital tools to build audiences and promote new music and artists abroad.
curva
live music venues
abstract
Curva addresses the challenge of developing new audience strategies by achieving diversity and inclusion in musical programming across Portugal. The project seeks to tackle the underrepresentation of female, trans and BIPOC artists, resulting in the engagement of those same audiences. The current music programming landscape in Portugal, as evidenced by Circuito’s soon to be released Activity Report, shows a disproportionate representation of male artists (aprox. 80%), which highlights the need for more inclusive and diverse line-ups.
The primary objective of the Curva project is to equip music programmers with the skills and knowledge necessary to create diverse and inclusive music programs. Additionally, the project aims to foster cross-cultural understanding and community engagement by showcasing the practical application of inclusive programming practices through collaborative efforts, reaching broader audiences working as a new audience strategy.
The project aims to significantly elevate the professional competencies of music programmers by providing them with advanced training and mentoring. This will be achieved through meticulously curated sessions led by experts in the fields of inclusive programming and cultural diversity. The intention is to furnish these programmers with a robust toolkit of strategies and methodologies that can be directly applied to their programming activities, thus fostering a more inclusive and representative musical ecosystem, not only in Portugal.
The creation of a detailed comprehensive training manual represents a cornerstone of the project. This manual will encapsulate the insights and knowledge garnered from the training sessions, providing a valuable resource that can be utilized by current and future people. By codifying these best practices into a widely accessible format, the project aims to ensure that the principles of inclusive programming are not only understood but also readily implementable across diverse contexts, settings and countries.
To achieve these objectives, the project is structured into three main phases:
Training and Mentoring Sessions: In the initial phase, music programmers from Circuito’s 21 member venues will participate in expert-led workshops and mentoring sessions. These sessions will focus on best practices for inclusive and diverse music programming through diverse points of view. The goal is to enhance the programmers’ knowledge and skills, providing them with practical strategies to ensure their line-ups reflect a wide range of cultural and artistic expressions.
Dissemination of Training: Following the training sessions, the insights and knowledge gained will be compiled into a comprehensive training manual. This manual will include best practices, case studies, and practical guidelines for inclusive programming. It will be edited, published online, to minimize printing and waste, and widely disseminated to ensure that the learnings are accessible to a broader audience. This manual serves as a sustainable resource, promoting ongoing improvement and adherence to inclusive practices.
Collaborative Programming Festival: The culmination of the project is a festival that will be collaboratively programmed by all the participating programmers. Using the training manual as a foundation, the programmers will work together to curate a diverse and inclusive line-up. This festival will take place simultaneously across all 20 venues, demonstrating the unified commitment to inclusivity and diversity. The festival will not only showcase the results of the training but also engage local communities, fostering a greater appreciation for diverse representation in the music scene. In parallel, we will focus on sustainability when dealing with artists’ travel and accommodation. By showcasing a diverse line-up we will be able to reach different audiences, often not taken into consideration and marginalized.
Name of the Entity: Associação Circuito Live Salas de Programação
Country: Portugal
Strand: Strand A – 60k €
social media
CWX – Columbia Work Exchange
live music venues
abstract
Especially for small markets such as those in the CEE region, it is extremely difficult to tap into long-distance markets. Fact-finding missions and subsequent in-depth meetings are very cost-intensive and often the further steps into the chosen long-distance market are not attractive and manageable for enough players in their own market to justify these investments.
By pooling their efforts and with the support of the LIVEMX funding, it would now be possible for them to consider taking the step into a more than interesting and attractive market.
There is no question that the European music landscape must join forces within Europe in order to remain competitive in a global market. However, in order for small players in particular to find their niche and survive alongside the large European markets, regional networks and activities must be set up to enable them to operate on an equal footing. From the very beginning, Waves Vienna‘s aim was to offer the CEE music scene a networking platform and presentation area and has already been able to set up several exchange programmes as well as presentations and workshops to open up third markets and gain a lot of experience, above all thanks to its close cooperation with Austrian Music Export.
In 2023 Waves Vienna together with Austrian Music Export identified Colombia as potential long-distance market for European repertoire and carried out a fact finding mission in November. We were able to identify and develop very good contacts in the country’s music scene and economy, but also saw very good potential for international cooperation at a wide variety of levels. The stable political situation, the great openness and the enormous interest in international music in South America’s second most populous country with a well-organised public system for the promotion of music and the music industry offer the best conditions for our project to develop the country and the music scene and industry. As one of the outcomes Waves Vienna shines a spotlight on an international long-distance market in 2024, explore the exact conditions of a market and the associated scene. This provides an excellent basis for the implementation of the project submitted here.
We want to build on the lessons learnt from this and offer the music scene in Austria, Slovenia, Hungary, Slovakia and the Czech Republic a comprehensive exchange of know-how with Colombia.
The plan is to organise a multi-stage learning process and exchange with and about the music landscape in Colombia for the CEE region over several months from November 2024.
The central element will be the invitation of a diverse delegation consisting of 7 music professionals from Colombia for a period of 7 days, we call it Delegates Tour.
The programme of the Delegates Tour will kick off with a full day workshop in Vienna, where the Colombian music market will be presented with lectures and workshops. 3 people from each of the 5 partners will be invited to Vienna to take part.
This delegation consisting of the 7 Columbian delegates and 5 x 3 people from the CEE partner (in total 22 delegates plus project team) will then be taken by bus to the cities of Maribor, Budapest, Bratislava, Brno and Vienna. In each city there will be a presentation of labels, agencies, networking and a showcase of 1 local act. Each stop will be a full day before the tour continues to the next city. After getting back to Vienna a final get-together networking session takes place.
After a few weeks of reflecting on what they have learnt, a period of processing and evaluating their own needs and opportunities, a maximum of 3 participants from the five countries are invited to Sharpe Festival in Bratislava to meet-up and develop market entry strategies over a full day series of workshops. These can be for a single project from one country, but can also include joint projects. An exchange and joint development should expand the possibilities and make them more efficient.
EchoEs of Prague Music Week
digital circulation and engagement
abstract
The Echoes of Prague Music Week (“Echoes”) project is based on the need to develop a network of professionals in the music world, to transfer their know-how and ideas, and to introduce innovative technological solutions from companies involved in the music industry to the vast global music market. The project therefore addresses the theme of “Music Export”, specifically the challenge of “Developing professional networks and understanding new markets”.
The project will focus on the digitalisation and subsequent communication of the results of the Prague Music Week event, specifically its conference and innovation fair. Through partner international music platforms (YOUROPE, Music Managers Forum, CISAC) the project will reach a global audience. We will translate the ideas and know-how from the music conference into podcasts and videos on social media. We will digitise presentations of technology companies and their innovative solutions from the technology fair, video medallions of these companies and their products that can benefit the global music market. These results will be presented online in cooperation with the above-mentioned international partners, thus ensuring their export abroad. We will also seek to expand the portfolio of these outputs with new insights, new videos and presentations that we collect during the next months of the project.
One of the future visions of this project is to link up with other international music conferences, thus creating an international online platform that will concentrate the results of all the world’s music conferences and make them available to music professionals around the world.
Prague Music Week (PMW) is the leading networking event for the Czech music industry, combining a music conference, a technology innovation fair and a concert programme. It is a meeting place for key players in the music industry, including promoters, music managers, production staff, technical specialists, booking agents, industry associations and musicians from the Czech Republic and abroad.
The main goal of PMW is to support music export and exchange of experience in the music industry by creating a hub for effective networking between music professionals. Prague Music Week enables all music professionals to enrich their experience, establish new contacts with foreign colleagues and share their know-how. At the same time, it provides a space for the presentation of innovative solutions in the music industry and to the foreign market, thus supporting the export of their technological innovations abroad.
We are aware of the potential of online communication, its cross-border reach. As Prague Music Week is only a few days event, which is connected with the presence at the venue in Prague, we want the ideas and know-how of music professionals and the awareness of technology companies to spread beyond the borders of the Czech Republic. The Echos of Prague Music Week project will therefore build on the existing Prague Music Week event and bring inspiring music content to a global audience – interviews with prominent personalities, medallions of music technology innovators.
The specific objectives of the project therefore include digitisation of conference content and of the showcasing technological innovations, thereby expanding professional networks, creating continuous content creation and distribution (website, social media and partners online platforms) and preparing the background for developing a future international online platform for other global conferences.
The project will significantly contribute to the international networking of the music industry, support the export of Czech musical ideas and (not only Czech) technological innovations abroad, and strengthen international cooperation in the field of music culture.
ECO TUNER
digital circulation and engagement
abstract
The project offers to tune LMVs in Western Ukraine and beyond to the environmental wave. Project addresses both challenges of developing ecological solutions adapted to the live music sector and new audience strategies, together with reinforcing human resources, providing peer learning and capacity building among live music venues in Ternopil and beyond.
The project aims to align live music venues (LMVs) in Western Ukraine and beyond with the latest environmental practices while addressing key challenges in the sector. It focuses on developing eco-friendly solutions, attracting new audiences, enhancing human resources, and fostering peer learning and capacity building among LMVs in Ternopil and neighboring regions.
The coronavirus crisis significantly reduced the income of LMVs across Ukraine and Creative Europe. The subsequent full-scale invasion has exacerbated these issues, threatening the very survival of many venues due to destruction, damage, or forced closures. Environmental concerns in Ukraine have been amplified by the war’s impact on energy systems, making efficient energy use critical for the survival of LMVs. Additionally, pollution of soil and water, increased use of diesel generators, and heightened CO2 emissions from the conflict demand urgent environmental solutions from all sectors, particularly cultural institutions that can influence public opinion.
The creative industry in Ukraine faces a severe personnel shortage due to the emigration of skilled workers, mobilization, and casualties from the war. Salaries in the cultural sector remain below the national average, further hindering the retention and attraction of talent.
ECO TUNER consists of the following elements:
Energy Efficiency and Ecological Modernization:
– Replace equipment at the Na poshti creative cluster with energy-efficient lighting and sound systems.
– Install waste sorting systems and bicycle parking at five member venues of the Ternopil Music Venue Association.
Educational and Awareness-Raising Activities:
– Organize online and offline events aimed at raising awareness among guests and employees of music venues about environmental issues.
– Conduct a year-long promotional campaign “Exchange Garbage for a Ticket” to involve 200 participants and collect 4 tons of waste.
Support and Development of Human Resources:
– Provide training for young sound engineers and internships for staff members of music venues;
– Facilitate staff exchanges among members of the Ternopil Music Venue Association to improve skills and share knowledge.
Audience expansion and new Segment Engagement:
-Collaborate with environmental activists and organizations involved in environmental protection, as well as sports associations.
– Organize 24 jam sessions, 12 open rehearsals, and a competition for the best eco-themed music composition.
Innovative Solutions and Dissemination of Results:
– Conduct an online survey to assess energy efficiency levels and collect data from 70 music venues in Creative Europe countries.
– Prepare a digital manual “Toolkit for eco-friendly LMV” in Ukrainian and English.
– Host an online presentation and two workshops based on this manual for music venue representatives.
Edison (Pop-Up) Jazz Club
live music venues
abstract
Edison (Pop-up) Jazz Club project is our ambitious attempt to open the first live music venue in Cluj-Napoca (Romania) focusing on Jazz music and related genres. We will repurpose a historical building of the city that used to be a public cinema between the 1920s and 2000s and that has been closed for over 4 years. We aim to use good practices that we’ve learned in the last decade implementing the Jazz in the Park festival and develop programs of audience development and artist collaborations. The team’s great results and expertise in working with jazz musicians has brought us in front of the ultimate goal, which is having a permanent space active all year round.
Our main goal is to tackle a nationwide problem in Romania, which is the lack of live music venues, especially small ones by actually opening one ourselves. Because the main challenge is to make this space sustainable – especially financially – we want to approach this attempt with a different perspective, positioning the club as a cultural institution, a music hub, rather than a classic club that relies on ticket bar sales. We plan on developing programs, thematic series and we want to involve the community of neighbors and local stakeholders since the beginning of the development.
The method we plan to use is raising a community around the concept of having a live music venue, rather than building a club around a concept and developing a community around that (as most restaurant and venue owners do). For this, we will organize focus groups, working sessions and informal meetings with neighbors, cultural institutions, and other possible concert organizers.
For the duration of the project, we intend to:
-Organize a minimum of 6 community events with neighbors and local stakeholders (ranging from authorities, cultural institutions, musicians and people connected to the cultural sector)
-Develop 2 music programs, one focusing on local acts and one on international artist circulation and under these 2 programs we will organize a minimum of 8 concerts
-Organize a minimum of 2 non-musical events, such as craft and vinyl fairs, with stakeholders from the Jazz in the Park Community
-Organize one crowdfunding event with a target of 5.000 EUR raised
-Develop a strategic positioning campaign, building this space under the concept of “The Third Place”, developed by psychologist Ray Oldenburg.
The project actively contributes to artist circulation in the EU by committing to developing a music program that focuses solely on foreign acts and organizing a minimum of 4 concerts with bands from abroad. Also, in the long run, by becoming an active music venue, we will serve as a new opportunity for artists to perform, especially in Eastern Europe which is considered an emerging market.
The project contributes to the “new audience strategies” challenge by its structure per se. Not only will we serve as a new context for the local audience to participate at cultural events, but the approach we have in involving the community in the development of the venue will create a different type of loyalty and will potentially serve as a good practice model for other organizations in the EU.
Through Europe Jazz Network, we plan on identifying members that are venue administrators with similar practices (repurposing old buildings into cultural venues is a more common practice in western EU) and talking to them in the attempt to identify their good practices and development models in an attempt to see what can we adapt and use specifically in the context of our city and country.
We have secured the venue with a 5-year contract with the possibility of extending the deal. The name “Edison” is a play on the repurposing of the building: it used to be a cinema that was called Edison (because Edison invented the movie projector) and we are keeping the name but transforming it into a music venue (Edison also invented the phonograph).
Name of the Entity: Fapte Association
Country: Romania
Strand: Strand A – 60k €
social media
I AM ABROAD
live music venues
abstract
I AM ABROAD addresses as main challenge the developing of music export through co-creation. The specific objective is to implement a cross border pilot to increase mobility options for improvised music artists that involves key actors of three European countries: music export offices, international meetings/showcase festivals and local venues.
Leaded by Taller de Músics, I AM ABROAD takes as its starting point how international meetings/showcase festivals and Music Export Offices work at a European level, how improvised music artists meet and create and be aware of the key role in music-making and hosting communities of local venues. The institution has knowledge and resources in these areas. It promotes annually JAZZ I AM Barcelona international Jazz Meeting, its managers assist annually to multiple fairs, meetings and showcase’ festivals and it collaborates with many Music export offices. I AM ABROAD will be a pilot that coordinates the efforts of these actors from three different countries and primarily three cities: Barcelona Vienna and probably Amsterdam.
Artistic skills are a small reason for musicians to get gigs internationally, while it has mainly to do with people capacity to build personal, creative and professional connections and communities. At an international level, furthermore, venues and festivals in the improvised world work under significant financial pressures, and fees are mainly cheap. So what is the best way to build truly authentic relationships for musicians that last? How to connect with audiences and professionals? How to handle small fees? Building personal connections with a common field, independent and improvised music, a genuine bond formed between people where each person feels seen, heard and known artistically takes time and place.
I AM ABROAD has all of this into account and increases mobility options for musicians in improvised live music industry by pushing forward / launching co-creation creative local sessions, guaranteeing promotion and concerts abroad and promoting institutional, professionals and artists’ networks.
Specifically, I AM ABROAD will take place from September 2024 to August 2025 and will develop a series of activities.
It will connect three Music Exports – Catalan Arts Music Export, Performing Arts Fund NL (TBC) and Austriam Music Export – with 3 International Meetings/Showcase festivals of the same countries – JAZZ I AM, inJazz (TBC) and Kick Jazz – and three local venues – JazzSí, De Ruimte (TBC) and Celeste –. As promoter of JAZZ I AM, Taller de Músics has strong connections with the rest of the parties. The project will start with a series of online meetings between September and October 2024 in order to organize a network of cultural institutions/events and plan common actions. It will promote two days of ‘Creative sessions’ in each local venue of Barcelona, Amsterdam (TBC) Vienna where impro musicians from different backgrounds and countries are invited to play and co-create in November. In order to promote them, all institution’s press and communication departments will be coordinated and involved on that. The artistic director of each Meetings/Showcase festival, a responsible of each music export and a Music Venue coordinator will assist to these sessions and select a group of maximum four musicians that will get further promotion: a showcase in each Meetings/Showcase festival and two local concerts in each country for the foreign artists. The showcases and concerts of each group of improvisers will take place in December 2024 (Kick Jazz), March 205 (JAZZ I AM) and June 2025 (inJazz TBC). The format ‘Creative Session’ will be as well included in the program of each Meeting/Showcase festival and will take place again in each local venue in the same dates of these events. The three new creative sessions will be open to the community of musicians of each city and artistic directors, other professionals and local audiences will be part of them as well.
Music C•A•R•E•S
live music venues
abstract
Music C•A•R•E•S is a platform seeking support to advance sustainability and social responsibility in the energy-intensive music industry. The project envisions the live-music sector by ideologically viewing sustainability in three dimensions: Ecological, economic, and social. Acknowledging the urgent need for sustainable practices, the project created a digital tool that aims to go beyond mere CO₂ reduction, emphasizing resource-conscious actions and is now putting social sustainability at the center.
In the current climate crisis we need to rethink and transform in order to mitigate the effects as much as possible. In this way we can create an efficient structure for the management and conservation of resources to the extent possible so that we can continue to enjoy concerts and live-music events in a conscious and reasonable manner. Unlike existing emissions calculators, our focus is on prompt, holistic impact rather than detailed/all-embracing figures. So a successful implementation of Music C•A•R•E•S is promoting informed production and consumption, best practices and a well founded selection of providers.
With a rudimentary pilot version online (general structure, CO₂ calculator and catalogue design) based on the Berlin event scene, developed within the Initiative Musik’s structural support (2022-2023), the platform should now be expanded to pave the way for its full potential; focusing on socioeconomic aspects around live-music events and planning.
We’ll prioritize a groundbreaking enhancement crucial for the fundamental idea of Music C•A•R•E•S on Digital Circulation & Engagement for Live-Music Venues: to balance dimensions on socioeconomic and ecological sustainability. Mainly, this would happen through introducing an innovative component like a user query regarding social factors while reinforcing environmental criteria. The project aims to engage with music venues in Eastern and Southern Europe to enhance understanding of cultural workers’ realities in lower GDP countries in Europe. To look at this topic in its entirety, we’d also like to address various inclusivity concerns on different levels of the tool, for example checking and revising the website/tool for accessibility issues like Ableism and Classism. Also UX aspects will have to be refined, i.e. to improve transparency.
Additionally, the project supports capacity building by creating a network of suitable service providers from different event-related businesses and initiatives along the supply chain of music events, emphasizing shared values and structural synergies.
Consistently with democratization processes, we plan to work on our vision to offer free and unrestricted access to the tool. This holds particular significance for smaller entities lacking resources for expensive certifications and external consultation. We understand this step as one of the levels of approaching social fairness from small to big size live-music venues.
Music C•A•R•E•S should be funded as the digital tool innovatively integrating digital practical solutions to address sustainability challenges in the production of live-music events. By offering a tool that helps live-music venues lower their carbon footprint easily and improve working conditions, the project addresses key challenges to impact and transform the live-music sector.
Music Market Mission India
music export
abstract
The Music Market Mission India is an innovative project designed to foster cultural collaboration between European and Indian music industries. Organized by Austrian Music Export, Hamburg Music, Music from Ireland (First Music Contact), and SoundCzech, the mission aims to provide music professionals from Creative Europe Participating Countries with inclusive, accessible, and relevant professional networking opportunities and market insights.
The mission’s goal focuses on implementing a music business trade mission to India, leveraging India’s position as the most populous country and one of the fastest-growing music markets globally. Specific objectives are to lay the foundation for market expansion activities, enable continuous exchange with India, provide stronger guidance for European companies entering the Indian market, enhance inner-European connections, and explore the trade mission as a pilot for future activities among EMEE members.
Spanning from September 2024 to March 2025 with an evaluation and knowledge sharing phase until Summer 2025, the project begins with detailed planning and coordination between export offices and Indian facilitators. An open call for applications will launch in October 2024, with a selection process focusing on market potential and gender equity. In total, 20 participants will join the trade mission, 4 from each partner’s region/country, and one representative from each partner, the music export offices (MEO). A digital info session in December 2024 will introduce participants, offer market insights, and prepare them for on-site activities.
Main on-site activities will occur in February 2025 during the India International Music Week (IIMW) in Goa. Participants will engage in info sessions and workshops covering topics like India’s economic, cultural, and music industry landscapes. Networking events such as speed meetings, matchmaking sessions, and B2B lunches and dinners will facilitate direct interactions with Indian music professionals. Participants will also attend info sessions, networking events, and showcases as part of the IIMW program.
Post-mission, in March 2025, participant surveys will evaluate the project’s success. Insights and results will be shared at the EMEE forum 2025 and disseminated via the export offices’ websites and EMEE resource hubs, ensuring ongoing knowledge sharing.
The project management team is committed to diversity and inclusivity. The selection process ensures representation from various backgrounds, including race, ethnicity, gender, sexual orientation, age, disability, and socioeconomic status. Local partners and facilitators in India will uphold these values, ensuring culturally sensitive and inclusive implementation.
The mission will have significant mid to long-term impacts. Participants will gain comprehensive insights into the Indian market, avoiding pitfalls and investing resources effectively. The knowledge and networks gained will be shared through the EMEE network and export offices, fostering new collaborations and projects. This strategic development step will open future opportunities for other music export offices, promoting long-term cultural and business integration between European and Indian music industries.
nexus
music export
abstract
“NEXUS: Cross-Border Mutual Mentorship for Emerging Jazz Musicians” addresses the crucial challenge of cultivating professional networks and navigating new markets for emerging jazz artists across Europe. The project aims to achieve specific objectives focused on mutual mentorship, market understanding, and international collaboration, leveraging innovative strategies to empower young musicians.
At its core, NEXUS seeks to foster mutual mentorship among participants from diverse European backgrounds. Through an inclusive open call for artists and a gender-balanced selection process, the project ensures representation and diversity. Selected participants will benefit from online mentoring sessions with Tami Toledo Matouka, a seasoned professional in music production, tour management, and public relations. These sessions are designed to equip participants with practical skills and strategic insights into navigating the complexities of European music markets, enabling them to develop sustainable career pathways.
A pivotal component of NEXUS is a comprehensive week-long residency in Vicenza, Italy. Here, participants will engage in intensive mutual mentorship and co-production activities, collaborating across cultural and musical boundaries. The residency will culminate in a public concert, showcasing newly created works and celebrating the diversity of European jazz.
During the residency, each musician’s productive focus will be on developing his or her own solo and practicing collective improvisation. Through this they will develop a performance capable of valorizing extemporaneous creative synergy.
A professional audio video recording will be set up and produced during the residency. A project goal is in fact also to produce content that the musicians can use during the second project phase for their self-promotion in the European jazz network. That contents will be used by BACÀN for the distribution and dissemination of the project as well.
Beyond the residency, NEXUS will facilitate participants’ involvement in major European jazz showcases such as Jazz Ahead in Germany and InJazz in the Netherlands. These platforms offer invaluable opportunities for participants to network with industry professionals, promote their music, and gain visibility in international markets.
By focusing on inclusive practices and fostering cross-border collaboration, NEXUS aims to contribute actively to the cultural richness and sustainability of European jazz. Through its innovative approach and strategic activities, the project not only enhances the professional capabilities of young musicians but also promotes cultural exchange and artistic innovation on a pan-European scale, ensuring a vibrant future for jazz in Europ
NORTHERN
live music venues
abstract
The project “NORTHERN” aims to establish a formalized network of music venues across Northern European countries, focusing on fostering the development of live music on a European level. The initiative seeks to create a diverse and dynamic music profile, reduce dependency on booking agencies, and actively shape the musical offerings in Europe.
General Goal and Objectives
The general goal is to enhance live music development by creating a network among North European music venues. This network aims to support artist tours, encourage information exchange, initiate new collaborations, plan artist exchanges and joint productions, support experimental music, and strengthen local cohesion.
Specific Objectives:
1. Community for Artist Tours: Developing a digital community on Trello for venues to bid on tours with new artists, promoting a broad range of music genres and innovation.
2. Information Exchange and Learning: Facilitating effective information exchange among network partners through online and physical meetings, supported by a digital platform.
3. New Collaborations: Encouraging regional and international partnerships with selected North-European venues known for booking diverse European artists.
4. Artist Exchanges and Joint Productions: Organizing at least six joint productions/artist exchanges from September 2024 to August 2025.
5. Support Experimental Music: Fostering the development of experimental music by focusing on emerging artists.
6. Local Cohesion: Improving local cohesion by bridging rural areas and urban centers, enhancing the local music scene’s impact.
Innovation, Creativity, and Experimentation
NORTHERN is innovative in its bottom-up approach, where local concert organizers curate content based on their expertise and audience knowledge. A digital platform is established to facilitate collaboration, enabling venues to bid on tours and reducing dependency on booking agencies. The project actively supports experimental music and incorporates sustainable solutions within the live music sector.
European-Added Value
The project transcends national, regional, and local boundaries, fostering cross-border collaborations, scalable results, and promoting innovative music practices across multiple countries. NORTHERN includes urban music venues from Denmark, Norway, and Sweden, with plans to expand the network further. Regular meetings and mutual visits facilitate cultural exchange and joint creative projects, enhancing ties among European venues.
Transferable and Scalable Results:
– Innovative Music Promotion: The project’s model can be adopted by other European cities and venues.
– Sustainability Practices: VoxHall’s sustainable practices serve as a template for other venues.
– Support for Experimental Music: Ensures the thriving of experimental music, scalable to other regions.
– Enhanced Community Impact: Bridges rural and urban areas, strengthening community cohesion through local music.
Ondes Croisées
music export
abstract
In Europe and the rest of the world, electroacoustic music is everywhere, but it is experiencing a paradoxical moment: many people identify with this genre, yet it remains the great absentee of public support and the media. Born in France, electroacoustic music is now a major branch of contemporary music, influencing many creative trends – including contemporary music. In a world saturated with images, where the perception of sound is often linked to – even dominated by – the visual aspect of a performance, our music offers ‘pure listening’: a performer plays on an acousmonium – an orchestra of 40 loudspeakers – a concert instrument as much as a visual device. This unique listening experience gives rise to a creation of its own. An ideal balance between technological innovation and human sensitivity.
But today, the music sector in Europe is undergoing major changes – the transition to immersive technologies is accelerating – and electroacoustic music remains unstructured, low-profile and under-supported.
In France, few ensembles have an acousmonium and are capable of playing a growing repertoire in concert, which is full of new creations and historic masterpieces. There is a great dynamic of new formations and creations, but no real production eco-system, including festivals, professional meetings, commissions for artists and opportunities for collaboration….
In Austria, Spain and Italy, too, there is a lot of creative work and compositions, but even less practical teaching on the acousmonium – an instrument that does not exist much in these European countries. No dedicated funding and no public spaces for acousmatic music – just private studios or university stages. A lack of infrastructure, communication, dissemination and promotion.
At European level, the general public has little knowledge or experience of music played on acousmoniums, because there is no structured network of electroacoustic music artists and professionals.
In response to this observation – and this paradox – we have put together a proposal for a European festival of electroacoustic music, “Ondes croisées”, spread over 4 different structures and 4 European territories:
Alcome (France – Chalon and Paris), the project leader, an ensemble that has its own mobile Acousmonium and has been deploying this instrument in France and Europe for 10 years, offering concerts of acousmatic, mixed and live electronic music performed by its collective as well as by guest musicians.
“Floating sound Gallery (Austria – Vienna), a structure run by exiled Russian composer, musician and visual artist Anton Yakhontov: an entity at the crossroads of art gallery, concert hall and label in partnership with the Echoraum cultural space.
“Ensemble Morphosis” (Spain – Reus, Barcelona) by artist and composer Joan Bages i Rubí: an electro acoustic music ensemble created in 2014 that is developing in Barcelona, Flix, and Reus.
“Association Musique & Arts Électroniques – M.ar.e (Italy – Bari): since 2004, collective of musician, composer and teacher Franco Degrassi.
Our “Ondes croisées” festival aims to create a strong professional network for electroacoustic music through open programming and co-creation in unusual venues. The aim is to promote this “new music” that’s everywhere – while being (almost) nowhere: to bring its artists to Europe through an innovative, travelling festival that spans 4 countries and different towns to reach a wider audience. It’s a collaboration of independent players who have known each other for a long time and share a musical, artistic and cultural history, but whose initiatives are not connected.
On the Road
digital circulation and engagement
abstract
“ON THE ROAD” aims to develop and disseminate an open-source map of sustainable touring routes (by bike, on foot, by horse, in caravans, etc.) connecting various artistic venues. Targeted at artists, production/ distribution managers, and performance spaces, our collaborative tool facilitates the creation of well-documented routes using resources and an algorithm that optimizes planning efficiency:
-Establishing a collaborative tool for documenting routes tailored to different mobility types and artistic practices to streamline production timelines.
-Consolidating and synthesizing existing resources for sustainable artistic tours, including routes, partner venues and schedules, venue-specific facilities, and shared insights on challenges encountered and maintenance points for bicycles/caravans.
-Mapping these resources effectively.
-Integrating a resource-sharing feature.
Our digital solution is an open-source platform for creating and maintaining event production and touring data for sustainable mobility:
-Resources: Programming by cultural centers, concert halls, theaters, festivals, production, organic/local eateries, bike repair workshops, etc.
-Events: Dates, hosting conditions, mobility logistics, etc.
-Routes:
>Indexed geolocated resources.
>Indexed routes undertaken.
>Geolocated events.
>Distances, elevations, waypoints.
The solution will undergo three phases of testing:
1. Data collection and initial online map deployment by Slowfest and partners.
2. User testing of the platform’s first version.
3. Optimization and encouraging data contributions.
Applications include:
Creating artistic touring itineraries based on categorized existing data (mobility type, programming type, logistical means).
Exporting collaborative map data for pre-tour promotion and post-tour evaluation.
Implemented as a client/server application handling geographical data, our software and hardware scope includes:
Software: Geospatial database (e.g., Postgres), server-side language (e.g., Python, NodeJS, PHP), mapping services (e.g., Gogocarto, IGN), and data resources (e.g., data.gouv).
Hardware/Hosting: Self-hosted server (e.g., Aquilenet), virtualized, or equivalent.
“On the Road,” our collaborative digital atlas, aims to be a transformative tool for sustainable arts touring. Transport remains the primary carbon emitter in the performing arts sector, making widespread adoption of sustainable mobility crucial for ecological transformation. The tool is designed for long-term sustainability.
The project emphasizes the importance of engaging with the public and target groups, fostering collaboration with networks like ARMODO, which promotes sustainable mobility in live performances, and ENCC (European Network of Cultural Centers), whose members, deeply rooted in the musical field, are sensitized to these themes. This collaboration enhances the project’s reach and ensures alignment with broader European cultural sustainability initiatives.
Name of the Entity: SLOWFEST
Country: France
Strand: Strand A – 60k €
social media
OpusXX GENERATOR
music export
abstract
Undeniably, the canon of western classical music is dominated by a handful of male composers, and audiences often find great pleasure in attending concerts featuring their favorite compositions – a collection of works that dominates the programming of classical works across Europe. Sadly, many concert-goers remain unaware of the great body of works by exceptional women composers spanning the past 400 years – admittedly, a body of work that is decidedly smaller than works by male composers, but nonetheless significant and full of hidden gems. These works have been largely overlooked by the classical music industry due to a myriad of factors, including a lack of exposure for these works, a lack of knowledge by concert programmers of the body of works by women, the difficulty of accessing scores, the lack of professional recordings and therefore the sheer amount of work that has to be undertaken by the average concert programmer to incorporate suitable works by women. Oftentimes concert programmers simply lack the incentive or the proper catalyst to include a significant proportion of works by women composers.
Despite recent efforts to increase the visibility of women composers and include more works in modern concert programming, a recent study by the Donne Foundation shows a DECREASE in the percentage of works by women being performed worldwide, representing a disturbing stagnation and regression in the diversity of global orchestral repertoire. Despite years of discussions about the importance of inclusivity, the representation of women and global majority composers in the 2023-2024 season has marginally declined, signaling an urgent need for change in the classical music industry.
How can we make lasting changes to this crisis? The team of OpusXX has been working for years to find a solution that would produce permanent changes and be exciting to use – something that industry insiders would enjoy using and would drive the programming of more works by women composers. OpusXX has been at the forefront of rectifying the imbalance of the representation of women’s works in the symphonic halls. Since its founding in 2018, the OpusXX Orchestra has been leading by example, presenting groundbreaking concerts of all women composers. This project aims to propagate a sustainable change in the representation of works by women composers in concert programs across Europe through the creation of an intuitive platform that streamlines the process of identifying suitable repertoire to be incorporated into concert programming.
OpusXX Generator proposes the creation of a platform to facilitate the inclusion of works by women composers in the programming of orchestras, theaters and ensembles throughout Europe. The OpusXX Generator distinguishes itself from existing catalogues of works in several key aspects: firstly, it aims to have a much broader reach than currently available online or physical lists of works, The database will also include novel tools for searching works by thematic material or their relationship to more widely-known works, thereby making it easier for ensembles to incorporate works by women composers into their traditional programming strategies. The incorporation of an AI interface will allow artistic directors and other users of the database to interact in an intuitive way with the platform and instantaneously receive relevant and unique repertoire suggestions based on the user’s input parameters. This is achieved by a simple chat interface that retrieves listings based on thematic relevance, powered by state-of-the-art artificial intelligence and data processing. Users can discover interesting and unique correlations between composers and repertoire that would take a team of musicologists months or years to uncover and compile. In this way, truly novel and fascinating concert programs with engaging dramaturgy can be created that have the added value of improving the gender balance in classical music programming
ROAD TRIP
music export
abstract
The aim fo the project is to create a network of venues in Central, Eastern and Southeastern Europe from Poland to Bulgaria, that are connected by shared musical taste (mainly in the field of world, folk, jazz and singer-songwriter music), that can be coordinated to organize greener, sustainable and more affordable tours in the region. The nods of the network are tourable without flying, connected by trainlines or short (less than 3 hours) drives. The network aims to make block deals with artists, agents and managements.
The project aims to tackle to issue of tours zig-zagging around Europe, using high emission flights and tight, mentally and physically exhausting travel schedules. The project believes that with some coordination logistics, tours could be organized in a greener and less demanding way, being more profitable for artists both mentally and financially, while still more affordable for the venues.
A network like that could serve as an example for genres and other geographic areas Europe. This would contribute to a European live music market that is
– greener, as tours would result in less emissions. Most of the unnecessary flights happen because tours are geographically not focused and artists are criss-crossing the continent, one day in Germany, the next in Bulgaria, and Portugal in the third. Geographically more concise touring would benefit every stakeholder: the climate (less emission), the artists (less hassle, more time to relax, better mental health), the venues (lower fees, lower travel costs).
– more economically efficient, as travel costs would be lower and block booking would bring better bargains for all sides
– more diverse, as the circulation of European artists would grow. Many concerts don’t happen because it is not viable logistically, although both sides would want it to happen, but flight connections don’t work out and it’s too long a drive in a given time.
The project would target and invite 40 selected venues from the region, focusing partly or in full on the above mentioned genres, fitting logistically the routes that makes it possible for them to be a part of such a tour route and are below the audience capacity of 1000. (Small venues focusing on niche genres are the most likely to have an interest in these issues.)
The countries covered would be Poland, Czech Republic, Slovakia, Hungary, Austria, Slovenia, Croatia, Bosnia i Herzegovina, Serbia, Kosovo, North Macedonia, Romania, Bulgaria and Greece. (The network would be open after the launch for others to join, if their location is closer than 300 km from the closest existing member.)
The project would initiate the launch of such a network, invite the 40 potential founders to a workshop and training to discover the possibilites of such a coordination, map the potential difficulties and lay down the shared rules and values. It would provide the necessary basic knowledge and tools for the potential founders.
Subcultural Futures
Live Music Venues
abstract
Subcultural Futures is a mentorship and training program for up-and-coming cultural entrepreneurs who work in subcultural communities. Participants will come to Berlin for 2 one-week intensive training periods while also having 5 months of mentorship from a local expert in their region. Our main objective is simple: more subcultural venues in Europe. We support young people who bring a vision for opening a venue in a city that is outside of the major European cultural hubs – places where such spaces are needed. Subcultural Futures, as the name suggests, supports future club makers working beyond music from the charts, whether DJs in the booth, or musicians on the stage.
Every new venue means expanding audiences – especially in cities without any suitable venues. This brings economic benefits: more ticket sales and business in venues means more jobs, better opportunities for artists, and a more secure European music market. One major social benefit is that venues offer places for young people to feel a sense of community, attachment, and identity, which is particularly important in smaller and mid-size cities where a wave of right-wing anomie and xenophobia was just witnessed.
Concretely, we will advertise our call through social and traditional media throughout the EU, looking for young cultural entrepreneurs, approximately 21-35 years old, who want to start a new venue, or have recently started one. We aren’t targeting people from Paris, Berlin, Barcelona, Athens, or other major cultural metropoles, but future club makers who live in places lacking subcultural venues. The objective of more music venues is achieved through supporting key people who have the drive, vision, and local expertise to make it happen; our method is mentorship and training.
Tresor Berlin has been one of the world’s top clubs for the past 33 years. As background, we were founded shortly after the fall of the Berlin Wall and became a symbol of the peaceful reunification of the city and the emergence of Berlin’s subcultural scenes as key to economic and social development. Now there are over 130 employees, with a large event space, two clubs and an annual experimental music festival, all still operating with DIY and underground spirit – just a little better organized than in 1991.
The Tresor Foundation is separate from the club and business, but we have direct access to this history and staff. The Academy’s pilot project, “How to Run a Club”, showed that we can provide expert and effective training that will enable participants in Subcultural Futures to be well-prepared for the technical, legal, financial, and pragmatic challenges they will face. The program is therefore structured around two one-week stays in Berlin, with intensive training and workshops. Leaders from Berlin’s history of clubs give talks on issues such as “Learning from Berlin”, while participants will learn secrets and structures directly from our bar manager about running a bar, or learn from our head of communications how to build a work culture that is authentic and consistent. External speakers will discuss issues such as mental health for nighttime economy workers, working with politicians, or writing a business plan. A small group of 8 participants will enable us to focus on each case and provide each person with custom support.
The training we provide in Berlin is one of two main methods: the second is mentorship. Every participant will be paired with a mentor who runs a similar venue in their region. We are experts in dealing with German law, bureaucracy, and taxes, but these issues and other local “hacks” are better learned in direct communication with someone in the same region or state. The mentorship runs for 5 months with regular online or in-person meetings. Our wide network of contacts will enable us to locate these mentors and pair them with the participants, providing a structure for peer-learning and expanding regional and EU-wide networks.
The European Sync Camps
Music Export
abstract
The European Sync Camps are a creative knowledge exchange format to support and empower the European music scene. Its aim is to bring together creatives (singers, songwriters, producers, musicians), music business professionals and commercial brands at European showcase festivals to learn, network, and collaborate on the ad campaigns of tomorrow.
Via an Open Call we offer independent outsiders from all over Europe the chance to team up with professional songwriters, composers and established artists to produce music for commercial use. Together they work on briefs for ad campaigns from international brands, provided by the workshop organizers.
These European Sync Camps organically connect brands with music culture. The focus on a diverse range of local and international, as well as gender-diverse participants provides international exchange and supports diversity and inclusion with the aim to work towards a more balanced, transparent and fair sync industry.
The outcome of these camps are tailor-made high-end commercial song layouts ready for campaign use. By including brand reps in the studio process, we significantly increase the potential of these final song layouts to be actually picked.
The overarching goal of the European Sync Camps is an innovative format of European wide Co-Creation between the music & advertising industry.
Via the European Sync Camps we develop an event format & digital platform that connects local creatives with their European colleagues – as well as with industry professionals and brands. For this, we partner with showcase festivals and studios all over Europe, to connect local music industries with the larger European music & advertising sectors.
Upfront, we collect music briefs from international brands like McDonald’s, Uber, VW for ad campaigns – in order to provide a business-oriented exchange within the industries.
The project addresses several key challenges in music export: co-creation, promoting new music and artists abroad in innovative ways, developing professional networks and understanding new markets. The project aims to enhance the global reach of European music, foster cross-border collaborations, and create sustainable professional networks.
Key Objectives
1. Facilitate Cross-Border CO-CREATION: Encourage collaborative music production across different European cultures.
2. ACCESS to advertising & networking: The Camps are a new form of entry into the advertising market for artists as well as their business team – not to mention the participating European showcase festivals and music export initiatives. The open call makes it easy and simple to take part. The camps provide artists and professionals with networking opportunities and insights into new markets.
3. KNOWLEDGE Transfer: Through the briefings as well as the guided composition phase, and the direct contact with the music supervisors and the agency creatives, a huge amount of direct knowledge can be transferred to the participants
Key Activities
1. Sync Camp Events:
– ADE (Oct 2024): A two-day songwriting workshop and camp for electronic music producers and musicians
– Iceland Airwaves (Nov 2024): a two-day songwriting workshop and camp for neo-classical composers, fostering innovative co-creation.
2. Development of a Digital Platform:
– Initial Phase: Facilitate open calls and project communication.
Outline per Camp
– 2-day Camp with Briefing Session, Song Creation and Listening Session
– 50/50 share of local and international participants to provide international exchange
– A focus on diverse participants, to support female and gender non-conforming* creatives
Tune-In: New Crossroads in Early, Classical and World Music
live music venues
abstract
In the Global North, music is integral to our identity. Yet, interest in classical and early music is declining despite attempts to attract younger, more diverse audiences. Concert halls and HIP (historically informed practice) venues mainly draw aging “white” audiences. Musical instrument museums also struggle to attract visitors. Cultural organisations face pressure to be more inclusive, which is challenging. Museum Geelvinck, with its extensive early keyboard collection, has successfully engaged non-Western communities, drawing new audiences. However, across Europe, HIP venues struggle to connect innovative productions with new audiences, impacting musicians, ensembles, and craftspeople like tuners and instrument makers.
Challenge: Live music venues in Europe face the challenge of attracting new, diverse audiences for classical HIP and early music. The aging “white” audience and the difficulty in connecting innovative productions with new appreciative audiences affect the entire sector.
Objectives:
1. Develop new audience strategies for live music venues, ensuring outreach to local communities, often with non-Western roots.
2. Stimulate artist circulation within Europe for classical HIP and early music.
3. Ensure financial viability for innovative productions.
Activities:
1. Three Webinars: Capacity building for small music venues to create awareness and develop tools for connecting innovative productions with new audiences for which these productions are appealing.
2. Summer Course: three-days intensive training with lectures and workshops on creating skills how to reach-out to new audiences, especially from communities with non-Western roots.
HIP has focused on Euro-centric early and classical music, attracting an aging “white” audience. Younger generations show little interest, and non-Western audiences are rarely engaged. In the 1970s, musicians like Frans Brüggen and Gustav Leonhardt popularised HIP by breaking traditions, but these standards became rigid over time. Now again, emerging professional musicians and ensembles are exploring cross-cultural arts, using period instruments from diverse origins. They embrace various music genres without bias, potentially renewing interest in historical instruments. The old approach of presenting music sequentially, distinguishing Western from ethnomusicological regions, is outdated. Younger, multicultural audiences find such distinctions irrelevant or unacceptable. A more inclusive presentation is needed, using music to reflect societal changes.
To support this approach, venues should become spaces for social themes related to music, encompassing traditional instruments from various cultures. This concept aims to present music inclusively, appealing to a diverse new generation. Collaborating with local communities ensures support for safeguarding living musical heritage. This concept aligns with both the revolutionary ideas from the 1970s that revived interest in HIP, and todays Faro Convention.
In short, music venues must learn to attract new audiences for innovative productions, often with a social focus, breaking boundaries between Western HIP, traditional non-Western music, and contemporary interdisciplinary crossovers. We target the smaller venues, as these usually have more difficulty in exploring new paths. Our objective is to create a Europe-wide network of music venues which relate to the HIP-scene and which are welcoming innovative and experimental productions. If there is more potential for new innovative production to be staged in various countries, this makes these productions more financially feasible and rewarding too for the ensembles and creative makers. Important, if not essential is that there is interaction created between these productions and local communities, whether from non-Western diasporas or those feeling excluded from traditional venues. Our project aims to help venues in their ability to create such match.
TuneUp
music export
abstract
“TuneUp” is an innovative project initiated by We Move Music Croatia designed to equip young professionals with essential experience in the music industry. This project offers a unique opportunity for participants to volunteer at renowned showcase festivals, allowing them to immerse themselves in various aspects of the industry, including event management, artist relations, and marketing. There is also a huge lack of music industry professionals in Croatia; this project is necessary to resolve this and start to rectify it.
The project’s primary goal is to foster young individuals’ professional development by placing them in real-world settings where they can observe, learn, and actively contribute. By participating in showcase festivals, these young professionals will gain a comprehensive understanding of the music industry’s inner workings. Through this project, a minimum of 10 young music professionals will be funded to participate in 10 showcase festivals across Europe.
An open call will be issued to young professionals interested in the music industry. Applicants must submit their resumes and a statement of interest outlining their preferred area of focus. An unbiased commission will review the applications and select participants based on their potential, motivation, and alignment with the project’s objectives. WMMC will cover travel expenses to and from the showcase festivals. Suitable accommodation will be provided for the duration of the festival, which will be up to one week. Additionally, participants will receive daily allowances to cover meals and incidental expenses.
Participants will volunteer in various departments during the festivals, gaining practical experience. Each participant will be paired with an industry professional to guide and mentor throughout the festival. They will also attend workshops and panel discussions to deepen their industry knowledge.
After the festival, participants will submit a report detailing their experiences and the insights they gained. This feedback will be crucial in assessing the program’s effectiveness and implementing improvements for future iterations.
This project offers young professionals an unparalleled opportunity to gain direct experience in the music industry. WMMC is committed to nurturing the next generation of music industry professionals by supporting their journey and equipping them with the necessary resources. This project is not just about learning; it’s about empowering young talents to step confidently into the future of the music industry.
Resonance
live music venues
abstract
Resonance – A FLINTA Music Residency Program
Resonance is a residency program established by Sorora to support FLINTA (female, lesbian, intersex, non-binary, transgender, and agender) composers and performers from diverse backgrounds across Europe. Set in the unique and culturally significant Projektraum Coswig, a creative hub located in Coswig near Berlin, Germany, this program offers FLINTA musicians the resources, mentorship, and performance opportunities necessary to develop their professional careers and create innovative compositions. The residency will culminate in public performances in Coswig and Berlin, increasing audience reach and engagement.
Challenge addressed:
Resonance addresses the challenge of developing new audience strategies for live music venues while enhancing the visibility and professional development of FLINTA (female, lesbian, intersex, non-binary, transgender, and agender) musicians with migrant backgrounds. The project also aims to foster greater cultural diversity and inclusion within the European music scene.
Specific objectives:
– Promote cross-cultural exchange and collaboration among FLINTA musicians from various European countries, enhancing the interconnectedness of the European music scene.
– Provide FLINTA musicians with migrant backgrounds the tools, mentorship, and opportunities necessary to advance their careers.
– Facilitate the creation of new and original works that reflect the diverse cultural backgrounds and experiences of the artists.
– Promote a rich and varied music scene by supporting FLINTA musicians from different cultural backgrounds.
– Engage new audience segments through innovative community engagement and public performance strategies.
Activities
Resonance will host up to 6 FLINTA musicians (individuals, duet iortrios) for a two-month intensive residency at Projektraum Coswig. This residency will provide the artists with the time and space needed to create and collaborate, including covering travel, accommodations, and honoraria for the participants.
During the two-month-long residency, the artists will receive one-on-one mentorship and participate in workshops led by experienced professionals in Germany. These sessions will cover a range of topics essential for their professional growth, including promotion, grant writing, and new technologies.
The residency will also include opportunities for the artists to perform in various concerts and cultural events in Berlin, facilitating their exposure and engagement with the local music scene.
The residency program, the artists, and the following concerts will be promoted through a dedicated social media channel created for this project, as well as the social media platforms of our partners, ensuring wide visibility and reach.
As an outcome of the residency, we will organize concerts and performances at Projektraum Coswig and Bardo Projectraum in Berlin to showcase the residents’ work. These events will help the artists reach diverse audiences and highlight the innovative compositions and collaborations developed during the residency.
revelations
music export
abstract
REVELATIONS project addresses challenges faced by emerging/unknown contemporary Bosnian musicians/artists seeking support and opportunities to Export their art abroad. Through establishing regional network of music industry members and providing competence building and larger professional outreach for all included stakeholders via workshops, trainings and production of Revelations Music Showcase Conference event in Bosnia, finally this country’s market will become significantly more accessible to greater numbers of music industry professionals, cultural workers and artists. Many new options will become available to grow audiences opened to new and upcoming trends whilst promoting diversity, initiating cultural change and breaking ever-present regional inclusion barriers.
The main goal of the REVELATIONS project is to: “Strengthen capacities of unknown/emerging Bosnian contemporary music artists and regional partners/stakeholders by facilitating access to global markets of creative products/services at the regional/European level through new partnerships, networks, audience building, knowledge and raised awareness of the decisive role for the future in terms of comprehensive diversity, inclusion and economic development through the music industry”.
The above ratifies how all three Music Export Theme Challenges must be combined/engaged if impactful and long-term effects are to be made.
The specific objectives are multiple and aim to do the following:
– Create a basis for the quality work by establishing network of at least 10 regional/European collaborators, from 9 countries (BiHx2, SLO, HUN, BUL, SRB, CRO, NMK, MNG, ALB)
– Form Bosnian Music Export by selecting 10 unknown/emerging Bosnian artists and educating/training them to build their capacity to become more professional and skilful inside regional/European music industry
– Promote the work of 10 Bosnian artists via digital platforms/channels/groups/networks while booking them on tours/concerts with networked 10 regional/European collaborators and respective Showcase Conferences in their countries reaching the minimal audience of 100.000
– Educate 10 crews/staff of regional/European collaborators, which hosted Bosnian artists, in music industry technical and management skills and know-how
– Create conditions in Tuzla and at regional/European network partners’ locations for co-creation whereby at least 10 new pieces of new art/music will be recorded as a result of that co-creation
– Organising REVELATIONS three-day Showcase conference in Tuzla (Bosnia) on 22-24.5.2025. where at least 20 emerging artists will perform, 9 expert panels and 6 practical workshops will be held, and 6 co-creations will take place in BAZA music hub (total of 100 panellists/delegates and 10.000 audience/indirect participants)
The project innovates by creatively combining Networking, Education, Promotion and major Event (Revelations Conference), nurturing peer learning, implementing practical and soft skills training, creating networking opportunities, and envisioning long-term cultural change in the region.
Success will be shown through palpable experiences, new contacts and permanent efforts towards diversity and inclusion inside music-cultural sector. The project activities and structure gives potential to others to reiterate similar methods and models inside their respective environments and geographic regions while all the material will be available online to be freely used by others.
Ongoing monitoring methods and stakeholder response will be used to measure and accordingly correct project development parameters, all bent around securing diversity, higher levels of inclusion and empowerment in the music industry. Gender balance and involvement of disadvantaged groups will be given priority, together with diverse local/regional and international stakeholders.
The Live Music Venue Production Incubator: A Innovative Program for European Venues
Live Music Venues
abstract
The European live music scene is a vibrant tapestry of diverse musical expressions and cultural exchange. However, many small to medium-sized live music venues face challenges in adapting to the evolving demands of the industry. This project proposal outlines the development of a Live Music Venue Incubator, a pioneering initiative designed to empower venue production teams and enhance the overall live music experience across Europe.
Live music venues play a crucial role in nurturing emerging talent, fostering community engagement, and contributing to the cultural and economic vitality of cities and regions. Yet, limited resources, technical constraints, and a lack of specialized training often hinder the growth and sustainability of these venues. Our Live Music Venue Incubator seeks to address these challenges by providing targeted support from leading professionals also knowledge exchange, and professional development opportunities with practical.
Objective:
1. Empowering Venue Production Teams: The incubator will offer a series of intensive 2-3 week boot camps tailored to the specific needs of lightning engineers and sound technicians. Participants will gain hands-on experience with cutting-edge equipment, learn best practices in sound design, and explore innovative approaches to lighting and visual production.
2. Fostering Collaboration and Networking: The program will create a collaborative environment where venue professionals can exchange ideas, share experiences, and build lasting connections. This network will serve as a valuable resource for ongoing support and collaboration beyond the boot camps.
3. Enhancing Technical Skills and Knowledge: Through a combination of theoretical instruction, practical workshops, and mentorship from industry experts, participants will significantly enhance their technical skills and knowledge. They will learn how to optimize sound and lighting systems, troubleshoot technical issues, and create immersive live music experiences.
4. Promoting Innovation and Creativity: The incubator will encourage participants to experiment with new technologies, explore creative solutions, and push the boundaries of live music production. By fostering a culture of innovation, the program will contribute to the evolution of the European live music landscape.
Target Audience:
The Live Music Venue Production Incubator is designed for small to medium-sized live music venues across Europe. The program will primarily target lightning engineers and sound technicians, but it will also be open to other members of the venue production team, such as stage managers, production managers, and technical directors.
Expected Outcomes:
The Live Music Venue Production Incubator is expected to have a significant impact on the European live music scene. By empowering venue production teams, enhancing technical skills, and fostering innovation, the program will contribute to the following outcomes:
1. Improved Sound and Lighting Quality : Venues will be able to deliver higher quality sound and lighting experiences, leading to increased audience satisfaction and a more immersive live music experience.
2. Increased Technical Capacity: Venue teams will be better equipped to handle complex technical challenges, troubleshoot issues, and optimize their systems for optimal performance.
3. Enhanced Creativity and Innovation: The program will encourage experimentation and risk-taking, leading to the development of new and innovative approaches to live music production.
4. Stronger Networks and Collaboration: Venue professionals will build lasting connections and form a supportive network that can provide ongoing resources and opportunities.
5. Increased Economic Viability: By enhancing their technical capabilities and attracting larger audiences, venues will be able to generate more revenue and ensure their long-term sustainability.
Tier Music Sync camps
Music Export
abstract
Tier Music Sync Camps are a series of co-writing camps where participants come together from various European countries for two to three days of intense learning and creating music for various sync mediums (film, TV, advertisements, games, trailers, and more). This collaboration enables artists, producers, and topliners to develop their skills, share experiences, learn from each other, make new contacts, and find future collaboration partners, such as other creatives, professionals, and music supervisors.
The project addresses the challenge of limited collaboration and integration between the European music industry and the audiovisual industry, particularly in the developing sync markets of Eastern Europe. The scarcity of dedicated sync agents and music supervisors in these regions makes it difficult for artists to get their music placed in audiovisual projects.
The specific objectives of Tier Music Sync Camps are to foster cross-discipline collaboration, develop skills and networks, and enhance market education. By bringing artists, producers, and topliners together with representatives of the film industry, the camps aim to bridge the gap between the audiovisual industry and the music industry, providing a platform for networking and co-creation. Music supervisors will also have the opportunity to help educate the market and discover new European talent.
The activities to achieve these objectives include organising a total of three camps during the 11 months, each focusing on a different visual medium (e.g. commercials, trailers, and games) and bringing in music supervisors from that particular medium. The camps will take place in different countries, allowing more than one country to host the camp and enabling music supervisors to get acquainted with various music scenes and studio spaces. During the camps, participants will engage in two to three days of intensive learning and music creation, working on tracks for ongoing projects needing music. This approach will promote cross-border collaboration and establish vital international connections.
Although several initiatives have been set up to foster collaboration between the audiovisual industry and the music industry, numerous challenges persist. Music synchronisation in Europe is still developing, particularly in Eastern European markets. Tier Music Sync Camps aim to address these challenges by creating a sustainable and collaborative ecosystem that enhances the sync industry in Europe, leading to more opportunities for European artists and a stronger integration of music in audiovisual projects.
Trovam EUxchange
music export
abstract
– The Valencian Music Fair, Trovam –
The Valencian Music Fair, Trovam, is held annually in the city of Castelló de La Plana (provincial capital) with the aim of stimulating the business fabric of music and creative industries in the region, as well as facilitating professional meetings within the Spanish music industry. With 40 musical performances and professional activities, the 2024 edition will take place from November 14th to 16th and will be held at various venues across the city, such as the Auditori de Castelló, the Teatre Principal de Castelló, and the Plaza Mayor.
The Fira Trovam is a benchmark event in the music sector of the Valencian Community, growing in importance with each edition. This fair has consolidated itself as a nationally recognised event, comparable to renowned professional music industry meetings such as BIME Bilbao, Mercat de Música Viva de Vic, Monkey Week in Seville, the Fira Mediterrània de Manresa, or la Fira B! of the Balearic Islands.
– The Essence of Fira Trovam –
The essence of Fira TROVAM lies in its mission to energise the Valencian music industry by promoting the creation of strategies that boost the projection and exchange of local musical talent and professionals in this creative field, both locally and nationally. Organised by the Valencian Music Association, an association of Valencian music sector companies, this fair has experienced exponential growth in recent years, fostering the professionalisation of the sector and expanding business and creative opportunities.
– Unique Value Proposition –
The Fira Trovam’s unique value proposition compared to similar events is its emphasis on giving visibility to artists who express their art through minority languages of the Spanish state, one of the primary objectives of the Trovam EUxchange project. Thus, the fair includes concerts by artists who sing in co-official languages such as Eastern Catalan (Catalonia), Valencian (Valencian Community), Insular Catalan (Balearic Islands), Basque, or Galician, and in non-official languages such as Bable or Aragonese. With this project, we aim to increase the diversity of languages programmed at the fair by including other minority languages and dialects from countries like France, Italy, or Portugal. Trovam EUxchange, therefore, has a dual objective: to export Valencian artists who use Valencian as the vehicular language of their musical activity and to import artists in connection with other fairs who express themselves in minority languages from their countries of origin.
– Strengthening Internationalisation and Competitiveness –
In line with the objectives of the current call, the Trovam EUxchange project by the Valencian Music Association seeks to strengthen the internationalisation and competitiveness of the Valencian music sector from a social exclusion perspective, such as the use of minority languages. By facilitating the mobility of artists, promoting international cooperation, and generating transnational business opportunities, the project positions the Valencian music industry globally and projects the image of this region as a cultural benchmark. By establishing collaborations between European sector fairs, a European perspective essential for addressing the challenges of the music industry in the coming years is promoted, fostering the sector’s growth. Therefore, Trovam EUxchange aims to effectively contribute to economic and cultural development both nationally and across Europe.
The fairs with which we are building the collaboration strategy include Babel Music XP in Marseille (France), Napoli World (Italy), and EXIB Música (Portugal). Communication with these fairs and the monitoring of the collaboration has been continuous over the past few years, as their strategies align with the objectives of Fira Trovam, in their support for local artists but also in the visibility of cultures marginalised by the states in which they are framed.
Vene.live – Networking and Empowerment of Live Music Venues
live music venues
abstract
In recent days, live music venues are facing financial, technical, and organizational challenges. Accessing marketing and audience growth is becoming more difficult due to competition from easily accessible entertainment alternatives. Kosovo has never had a coordinated network for organizing live pop and rock music venues, complicating both organization and access. There have been no collective initiatives to address this issue. Therefore, we offer a series of joint opportunities to enhance the prospects for live music venues by collaborating with management professionals known for their successful track record in professional work and global recognition. Additionally, we aim to engage media and IT technology professionals to establish a beneficial network for live music venues, facilitating sales, initiatives, and the use of new capabilities such as live streaming through Positive Gold Media, renowned in the media field, and in collaboration with Ideolink in IT. Meetings and trainings are designed to enhance quality, technological awareness, managerial skills, and technical capabilities. Vene.live emerges as a significant initiative not only in Kosovo but beyond.Vene.live aims to empower live music venues in Kosovo by providing tools and resources for successful event hosting. It seeks to enhance networking among venue managers, bands, DJs, performers, scene managers, and sound designers, fostering collaboration and best practice sharing. Peer learning opportunities in venue management, technical skills, and performance enhancement will be facilitated. The project will engage the community through joint projects and networking initiatives. Leveraging IT and live streaming capabilities, Vene.live aims to improve service delivery, networking, and marketing for live music venues.
In the first 6 months, the focus will be on designing and developing a user-friendly online platform tailored for live music venues. This will include populating the platform with venue profiles, event schedules, and management resources, followed by initial testing for functionality and usability.
Project aims to involve outreach to local venues, bands, DJs, and stakeholders, organizing workshops and meetings to introduce the platform and gather feedback, and establishing collaboration agreements.
Include, peer learning programs in venue management, technical skills, and performance will be developed, alongside technical workshops on new technologies like live streaming, sound design, and marketing tools.
To,a soft launch and introduce the platform to select venues for final testing and feedback, leading to an official launch promoted through various marketing channels. Live streaming capabilities will be integrated to expand audience reach.
Very important, continuous user feedback will be collected and analyzed to drive necessary improvements. Monitoring platform usage and engagement metrics will assess impact and success, culminating in comprehensive progress reports.
Expected outcomes include enhanced support, empowerment, and resources for live music venues, strengthened networking and collaboration among stakeholders, expanded audience reach through effective marketing and live streaming, increased community engagement in live music events, and enhanced management and technical skills across the ecosystem.
Vene.live aims to transform the live music venue landscape in Kosovo by fostering networking, collaboration, and community engagement. Initially focused on jazz and blues venues, the project plans to expand support to a broader range of live music establishments in the future.