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
Independent festivals are essential for new music discovery, booking bands/artists a bit out
there and bringing communities together in a way big, commercial festivals can't. They create
unique, intimate experiences, offer a platform for emerging talent, and throw unforgettable
parties. From the inside, it’s about witnessing an audience thrilled by a band they’d never heard
before, seeing your team proud from what you’ve pulled off together and knowing bands will
benefit from new opportunities. Yet, with slim margins and financial risks, can festivals grow and stay true to their roots amidst hot bands, cold sponsorships, tricky agents, and unpredictable audiences?
Sebastian Vera, Mallorca Live, Palma, ES
Minke Weeda, Left of the dial, Rotterdam, NL
David Lohdi, Nürnberg Pop Festival, Nürnberg, DE
Chair; Sam Sumpter, Bands do BK, New York City, US
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
