The US live market is probably the most competitive, with fierce pressures - competing with
corporate giants, securing funding and managing high costs. Independent players must
innovate, build strong local networks, and constantly present captivating programs to survive in
this industry. What’s it like to navigate this? What are the biggest issues? And for European artists
wanting in on this massive market, strategic partnerships and the understanding of regional
audiences is essential. How possible is it to get there? And what’s a good starting point to attract
venues, promoters, and festivals to start building an audience?
Nate Dorough, Pyramid Scheme / School Night, Michigan, US
Lio Kanine, New Colosssus Festival, New York City, US
Berkli Johnson, SXSW, Austin, US
Chair, Sam Sumpter, Bands do BK, New York City, US
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The US live market is probably the most competitive, with fierce pressures - competing with
corporate giants, securing funding and managing high costs. Independent players must
innovate, build strong local networks, and constantly present captivating programs to survive in
this industry. What’s it like to navigate this? What are the biggest issues? And for European artists
wanting in on this massive market, strategic partnerships and the understanding of regional
audiences is essential. How possible is it to get there? And what’s a good starting point to attract
venues, promoters, and festivals to start building an audience?
Nate Dorough, Pyramid Scheme / School Night, Michigan, US
Lio Kanine, New Colosssus Festival, New York City, US
Berkli Johnson, SXSW, Austin, US
Chair, Sam Sumpter, Bands do BK, New York City, US
Three perspectives on where we are as an industry after the pandemic and into a world on fire.
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Paco Barba, Hipnosis, Pitchfork Music Festival, MX
Robyn Stewart, Women in Music Canada, BreakOut West, CA
Fredrik Andersson, Welfare Sounds & Records, SE
Chair: John Kennedy, Radio X, UK
KULTURAKADEMIN PODCAST
The US live market is probably the most competitive, with fierce pressures - competing with
corporate giants, securing funding and managing high costs. Independent players must
innovate, build strong local networks, and constantly present captivating programs to survive in
this industry. What’s it like to navigate this? What are the biggest issues? And for European artists
wanting in on this massive market, strategic partnerships and the understanding of regional
audiences is essential. How possible is it to get there? And what’s a good starting point to attract
venues, promoters, and festivals to start building an audience?
Nate Dorough, Pyramid Scheme / School Night, Michigan, US
Lio Kanine, New Colosssus Festival, New York City, US
Berkli Johnson, SXSW, Austin, US
Chair, Sam Sumpter, Bands do BK, New York City, US
