Twenty Five Years of Eurosonic Noorderslag - Interview with Creative Director Peter Smidt

Allan McGowan caught up with Creative Director Peter Smidt to find out the story behind the events success...
Eurosonic Noorderslag celebrates its quarter century anniversary next January 2011. Slightly more than twenty-five years ago, so Peter Smidt tells me, he was working hard - that's not to say that he doesn't work hard these days as Creative Director of Eurosonic Noorderslag, Manager at Buma-Cultuur and also Vice President of The European Music Office - but at that specific time all those years ago the work was physically hard - he was digging. To be precise he was levelling a sloping floor, some of you may well have benefited from his work by being able to keep yourselves, and your drinks, upright when watching a band play in Groningen's Grand Theatre, which was previously a cinema - hence the slope.

The Beginning:
As a student of Arts and Art Management in the University City of Groningen Peter was one of the squatters of The Grand Theatre, which was to be replaced with a shopping mall. Squatting has a fine tradition in Holland; there would for instance be no Paradiso in Amsterdam if students and others had not taken direct action. Peter recalls, "I was using the downstairs area as a rehearsal room for my band, and it seemed a natural move to start promoting in the venue." He also promoted shows at The Oosterport venue, booked the acts for the Stars in the Park summer festival and in 1986 started Noorderslag, a festival event presenting Dutch and Belgian acts.

"In those days," Peter recalls, "Both audience and the business considered local repertoire as merely a niche market, but the festival showed the quality and the potential available. At the time we figured that other European territories must be proud of their own acts and to have similar international potential but we didn't really have a clue." Things began to move when Dutch artists like Urban Dance Squad and the Nits began to attract the attention of professionals from other markets, including Bernard Batzen from France, Tapio Korjus from Finland and Marc Ridet from Switzerland and they and others came to Noorderslag to check out the bands.

The Mission:
When Patrice Hourbette from the French Export Office asked if he could bring some French acts, then Polygram (now Universal for those under a certain age!) inquired about presenting some of their European bands, Peterrealised that Noorderslag was in a position to realise the fast developing potential within European repertoire which audiences and professionals alike were largely unaware of. The Dutch based promoters and agents Association Network Europe became involved, inviting agents and promoters to bring in their acts. This became the mission and the aim, as Peter says, "To present European repertoire within the whole European sector, and to create a platform for European music and European music professionals." The Noorderslag Seminar was created in 1993 to encourage the exchange of ideas within the sector and work began on building what was to become Eurosonic Noorderslag.

The Partners:
However Peter was aware of limitations, "One show in Groningen was not enough, the important thing was to create and maximise exposure and radio was one way of achieving this." The European Broadcasting Union was approached and with the help of Jan Sneum of Danish National Radio, EBU collaboration, involving Holland's Radio 3 FM, German stations and the BBC, with John Peel broadcasting live from Groningen, was initiated, with the aim of distributing to all main stations. In 1999 the event took on the Eurosonic name. Peter continues, "Because we were able to present the most promising acts more promoters and agents came, finding it easy to check all the upcoming talent in one place. The infrastructure of Groningen works so well for this, with so many good venues all within walking distance of each other. There are not many Cities with that facility."

Apparently Groningen owes this happy situation not just to the fact that it is home to a large University with lots of young people therefore lots of demand, but to a local law passed in the 1950's; this permitted bars and clubs to stay open late if they staged live music. Very forward thinking! This situation allowed musicians like Herman Brood to develop their art in Groningen; he could play seven nights a week in different venues and had a big influence, encouraging bands to start up. This inspiration led to there being a lot of active bands in the 70's and just as importantly an active audience!

ETEP & The Festivals:
The fast growing festival market was the next sector to be involved within this history and this infrastructure, which provided the perfect setting for buyers, artists and radio to exchange talent, information and advice. The aim was to continue to encourage all these sectors to work together to help create careers and spread European repertoire. A tool was needed to make this idea work and Peter formulated the concept of ETEP, the European Talent Programme, to achieve this in an objective and measurable way. He went to the Festivals Association Yourope with the idea, and, as he says, "They listened and said let's try, and we were all surprised by the results." ETEP offered radio support from the EBU and a small amount of money to participating festivals to offset the costs of putting on an act from another territory, which they may not have considered otherwise."

Funding:
The start up money came from the Culture Department of the Dutch national Government, there was some reticence about Dutch Culture funds subsidising other countries, but it was considered a very interesting programme, so Peter was told he could have the money to start up, but to look to the EU for the future! But there was assistance from other areas, the European Music Office (EMO) came on board as a main partner, along with assistance from Italy, Norway, Luxembourg and Belgium amongst others, allowing the Programme to kick off in 2003.

Peter has had mixed success in obtaining funds from the EU, receiving support in some years and not in others, he has spent a lot of his time in Brussels. He says, "There is still no set policy for the music sector in Europe which will serve it best. If we can secure the policy first, the programmes will follow. Although ETEP has without doubt shown that it is works and is effective, so far within the current programmes of the European Commission it has not been rewarded." EMO is still lobbying and has had some success with ETEP and the European Tour Support Programme. Peter continues, "There have been good pilots but nothing as yet has led to a solid follow up within the framework of European subsidies. Currently I am keeping a close eye on the development of the Cultural Industry Policy to see what can be learnt from it, but at the moment the framework is not suitable for the music sector."

EBBA Awards:
However, the doors are not closed, the Commission's instigation of and support for the European Border Breakers Awards - the EBBAs, are evidence that it has listened and does want to find a way of working with the music sector. The fact that the Awards are now presented at Eurosonic Noorderslag is very positive. As Peter says, "TheEBBA aims are the same as those of ETEP - crossing borders. If an act does well as a result of ETEP, then progresses to EBBA, this builds a framework for crossing border success. Eurosonic makes new talent discoveries, then EBBA awards those who have become established, the stars. The attendance of Commission representatives at Eurosonic Noorderslag introduces a platform for debate between them and the music sector. There must be a constant dialogue to exchange views and change and create policies."

Certainly this upcoming 25th Anniversary Conference can provide an ideal platform to signal the continuation and expansion of debate, but we cannot just wait for things to happen, as Peter continues, "The music sector has to acquaint itself with the Commission's views and goals within the general Cultural Industry policy, and the industry players who attend Eurosonic Noorderslag should be willing and able to become involved in this, in order to progress the development of European repertoire."

New Developments:
There is no doubt that whilst growing and evolving over the last 25 years Eurosonic Noorderslag has achieved and maintained its original stated purpose of creating a platform for European music and European music professionals. Over the past few years many other conference and showcase events have appeared on the international industry calendar, many of which seem to have adopted formats not dissimilar from those developed by the Groningen event, this does not worry Peter, in fact he has an opposite view, "If others copy the Eurosonic Noorderslag model it indicates that the European market is growing. It is vital that this market has as many available stages as possible, it indicates growth and vindicates all our original plans and ideas."

Noorderslag Eurosonic is not an event that stands still, as the European industry develops new elements are introduced to the Agenda. The 2010 edition saw the introduction of The European Festival Awards in partnership with Yourope and Virtual Festivals. Also continuing conference discussion of digital distribution and interactive possibilities has resulted in the introduction of the Interactive Awards, in cooperation with Dutch Collection Society, Buma Stemra, and Factor E, to recognise the creative use of interactive media by artists and companies. The 25th edition will also feature a Media Lounge within the Conference to service the use of Eurosonic Noorderslag content, (the 2010 EBBA's were broadcast in 12 countries.) and to accommodate more requests from digital media, along with the growing numbers of radio and TV stations. Also a new Artist Village will be introduced to create more possibilities for artists to connect with attendant media and, just as importantly within the ethos of the event - each other. Fittingly, Eurosonic Noorderslag will also celebrate its 25th anniversary by making its home country, The Netherlands, focus country for the 2011 edition.

So, Peter Smidt may no longer be wielding a shovel to level theatre floors but 25 years on he and all at EurosonicNoorderslag continue to work to create a level playing field for all involved in the development and the distribution of European repertoire.

See you in Groningen on the 12th January!


Conference registrations available:
To attend Eurosonic Noorderslag as a conference delegate you need to be registered.
Registration rates go up as the event gets closer, so book early and save!

Rates & deadlines
Medium € 235 - register before October 15
Late € 275 - register before December 17
Walk-up € 295 - December 17 onwards
To register go to the webshop. (https://webshop.bumacultuur.net/)

About Eurosonic: The European Music Conference and Showcase Festival
EuroSonic Noorderslag is Europe's most important live music industry conference and showcase festival for European talent. With over 2800 delegates, showcases by 260 artists and a conference with 100 panels, keynote speakers, interviews and meetings, EuroSonic Noorderslag is the key exchange and networking platform for European music, European artists, international music industry professionals and organizations.

In 2011 we celebrate our 25th birthday and as EuroSonic Noorderslag focuses each edition on a different European country, featuring performances by the best artists and organizing panels about the specifics of that market, it only felt natural to do the 2011 focus on The Netherlands.

Wednesday 12: The European Festival Awards / The European Border Breakers Awards
Thursday 13: EuroSonic Festival and Conference
Friday 14: EuroSonic Festival and Conference
Saturday 15: Noorderslag Festival and Conference

EuroSonic festival presents a broad variety of the best European talent throughout the city of Groningen. Being the largest European showcase festival in Europe, EuroSonic Noorderslag is the most important platform for new European talent. With the European Broadcasting Union (EBU), Yourope and  Network Europe giving additional exposure to the performing artists, EuroSonic Noorderslag plays a vital role in the development and circulation of talent in Europe and beyond. Instrumental in this circulation is our own ETEP (European Talent Exchange Program).

Since the start of the ETEP program in 2003 a total of 965 shows by 346 European artists took place at the 60 ETEP festivals (2003 - 2009) www.etep.nl

Noorderslag festival has been the main barometer of Dutch pop music for 24 years.
On Saturday 15 January,  Noorderslag presents the very best Dutch acts in every genre, from hip-hop and urban to pop music, avant-garde, dance, alternative and everything in between.

Conference: During the three day conference over 100 panels and meetings will address the current developments and state of affairs within the European music industry, focusing on European music, touring, festivals, the (live) music industry and media developments. The conference also features industry meetings by: Yourope, the European Broadcasting Union (EBU), European Talent Exchange Program (ETEP), The European Export Office(s) and Network Europe.

Awards: EuroSonic Noorderslag is the proud home of various awards ceremonies such as The European Border Breakers Award, The European Festivals Awards, The Interactive Award and more. In 2010 The show of the European Border Breakers Awards 2010, presented by TV legend Jools Holland, will be broadcasted on TV in 12 different European countries.

International media coverage: EuroSonic Noorderslag receives international coverage in Europe and beyond, working closely with European media to give more exposure to the performing artists. During 2009, a total of 334 artist performances were broadcast on 21 European Broadcasting Union radio stations. With the EBU group firmly behind the festival, radio shows containing EuroSonic and Noorderslag concerts will reach out as far as Eastern and Southern Europe and beyond... an audience of millions.