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
This year's "Lay of the Land" panel will explore both the now and the future through the lens
from three different perspectives - label, distributor and festival. Have things stabilised over the
last few years? Are things getting worse, or better, or both? What’s the new things to consider?
NFT’s still hot? Is TikTok over? Is streaming a rigged game? What about dynamic prices on
tickets? This discussion might even fiddle with the tensions between corporate power and
independent vision, so expect views and opinions regarding dsp's, major labels and the ever
evolving festival market.
Torny Gottberg, Denmark Music Group, Gothenburg, SE
Rikke Andersen, Spot Festival, Århus, DK
Philipp Schulte, Century Media, Berlin, DE
Chair; Katja Vaukhonen, Backbone Management, Helsinki, FI
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
