Touring

GRONINGEN — The Eurosonic Noorderslag Festival (ESNS) has long marked the official start of Europe’s music calendar. The festival, which just wrapped its 39th edition, looks to set the agenda for the upcoming year, with a particular focus on the live space.
From Jan. 15-18 in Groningen, Netherlands, a diverse lineup of emerging artists were presented to festival bookers, promoters, potential managers, media and other industry professionals. The goal: celebrate and champion artists and scenes throughout Europe and strengthen ties between markets. 

At the heart of ESNS sits the The European Talent Exchange Program which promotes and assists festival bookings for the upcoming summer. By connecting 333 artists from 33 countries with 131 festival bookers and a number of stations within the European Broadcast Union (including the U.K.’s BBC Radio), the initiative aims to showcase artists from diverse regions and genres. The program has helped previous breakout artists, including Fontaines D.C., Idles, and English Teacher, secure bookings across Europe’s renowned festival circuit.

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“In today’s fast-evolving music industry, it’s increasingly difficult to uncover the hidden gems and truly exceptional acts,” said Tamás Kádár, CEO of Sziget Cultural Management, which runs Budapest’s Sziget Festival. 

“With over 5,000 applicants every year, ESNS does an incredible job of curating a selection that not only supports artists in gaining recognition but also provides a vital resource for bookers like us,” he added. “Even if we can’t catch every performance live, the curated list allows us to discover new talent for Sziget. It’s a testament to the shared commitment to fostering quality music and supporting emerging talent.”

A number of acts made compelling cases during their appearances; unlike other showcase festivals, acts at ESNS only perform once at the event. Ireland’s Cardinals, signed to influential indie So Young records, brought intensity and bite to the city’s beloved Vera venue. The walls of the space are adorned with some of the names that went on to become international icons: Joy Division, The White Stripes, U2 and more all played early shows in the space. 

Iceland’s Sunna Margrét expertly toed the line between folktronica and upbeat indie pop in her material, while Manchester-based Anthony Szmierek, who is due to release his debut album Service Station At The End Of The Universe in February, brought wit and humour to his rave-inspired bangers. Cork group Cliffords also drew a packed room on their debut show in mainland Europe, further solidifying the indie band place as ones to watch in 2025.

ESNS provides a boost for events like Focus Wales, a yearly showcase festival which takes place in Wrexham, north Wales. Andy Jones, co-founder and booker, says that their presence “ensures that Focus Wales and, more broadly, Wales as a music market, is part of the wider conversation with the European music community.” 

He adds that the challenges facing the U.K.’s grassroots venues are impacting the ability for artists to level-up into festival headliners. “When I compare the current state of play to how things were even five or six years ago, it’s clear there’s a big problem that needs to be addressed,” said Jones. “I believe the good work Music Venue Trust is doing is vital, but it is time for Governments to do more, to ensure these vital cultural spaces are protected.” 

Brexit brought immense challenges for many artists from the U.K. and significantly reduced the margins for profits. Jones is calling for “some real progress on simplifying the movement of artists in and out of the U.K., which will only reap benefits for all involved. This is also frankly, long overdue.”

Kádár concurs: “Artists face difficulties in standing out and reaching their audiences in a crowded market. Viral moments on platforms like TikTok can create sudden fame, but sustained recognition requires more. Added to this are rising costs – travel, accommodation, and the scarcity of funding – making it harder than ever for bands to tour successfully.”

The panel discussions and workshops held at Oosterport, the city’s cultural events center, covered a wide range of topics. In his keynote address, Alex Hardee, partner/agent of Wasserman Music in London, discussed the changing landscape for live agents and how they can react and respond. “We have to work harder for our commission and provide a bigger service,” he said, highlighting the company’s approach to securing new artists, as well as discussing the value of support slots and the “talent drain” that festivals are facing when booking headliners.

Throughout the program, the festival hosted additional discussions on the role of private equity investment into the live music space, the use of artificial intelligence in the creative and administrative process of making music, and how independent labels and boutique festivals can thrive in uncertain circumstances.

There were moments of celebration, too. The European Festival Awards celebrated honorees including Open’er Festival in Poland which scooped the best major festival prize and We Love Green for its commitment to making their event eco-friendly. In addition The Music Moves Europe Awards, a key component of the European Union’s efforts to support musicians, saw a number of acts secure grants of €10,000 ($10,321) including Yamê from France and Uche Yara from Austria.

ESNS may have highlighted the scale of the challenges ahead, but it’s one that Jones and his contemporaries are ready to meet head on. “I think it’s an exciting time, musically, with so much great new talent coming through. At the same time, it is encouraging that there seems to be a shared view, across Europe and including the major players in the industry, that there is a real responsibility now; for us all to create a more equitable industry going forward.”