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Roskilde Rising
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  1. Roskilde Rising Pushing new bands forward

  2. Whatwe have…. • Roskilde Festival has what is most likely the most committedconcertaudience in NorthernEurope. We have rougly 80.000 guestswhoaremainlyhere for the music, so chances arethey’llbescreaming for the music to start. • Whatwealso have is one of the most important stages in NorthernEurope – Pavilion Junior. In most cases, this stage, formerlyknown as the Camping Stage, willbe the firstbig stage the bands play in theircareer. The list of bands whowenton to bigger and greaterthingsafterplaying at Pavilion Junior includesNephew, WhenSaints Go Machine, Johnossi and so manyothers.

  3. All this gave us an idea • How do wemake sure that more bands go from Pavilion Junior to biggerthings – and perhapsevenbigger stages at Roskilde Festival? Simple answer – by givingthembiggerexposure. Wedon’t just book them for a concert – wecommitourselves to work for theircareersbefore, during and in some cases evenaftertheir performance at Roskilde Festival. • … and how do we do thiswith the help of ourenthusiastic team of volunteers from the Danish music scene?

  4. But wait! Whatabout all the otherband-projects in Denmark? • Roskilde Rising is the onlyproject for upcomingmusicthatfocusesentirelyon the artist’sinteractionwith the live audience. • Ourmainpriority is not helping bands getsigned to a label oragency, or to securethem more airplay. Whatwecan do is helpthem break (further) through to a devotedaudiencewhoarenonethelessbombardedwith bands during Roskilde Festival. We do this by makingthem stand out in the crowd.

  5. A fewwordsabout the process • In early 2012 wecontacted a devoted team of volunteers from different parts of the Danish music scene – from venues and agencies to bands and bloggers. Somewerealready a part of the Roskilde Festival system, others brand new volunteers. • Wegatheredthem at the RFHQ and told themaboutouridea. Webrainstormedondifferentways of helpingthese bands, and dividedthembetweenus. Eachvolunteerworkswithabouttwo bands, some in teams of two. • Some bands wereeasier to ”work” withthanothers. Most wereprettyenthusiasticabout Roskilde Rising – othersweren’t for variousreasons.

  6. The volunteersbeganworkingwith the bands and projectsstarted to come to life. • Ourmainfocuswasprojectsthatwould give the bands an opportunity to connectwith the RF audience in new ways: through events, happenings, projectsleading up to the festival etc. All designed to help the bands interactwith the audience in new and uniqueways. • The projectsweinitiallyturneddownwere the onesthatdidn’t live up to what the conceptwas all about.

  7. During the actual festival • All ourvolunteersare at the festival – even the oneswhose bands didn’tparticipate in Rising. • New opportunitiesrevealedthem selves leading up to and during the festival, whileothersprovedthem selves impossible to carry out. • The volunteer base was right behindPavilion Junior, whichmeantthattheywerealwaysclose to their bands.

  8. Whatwe’velearned • This is Roskilde Rising’sfirstyear, and therearedefinitelythingswe’ll do differentlynextyear. One of the most importantthingswe must do is define the following: • What Roskilde Rising is and can do for the involved artists • The limits to the project. How far shouldwe go for the bands?? • Whatwecandemand from ourvolunteers – and vice versa • How do wemeasure the amount of succes we have? • Whendoes the actualproject end? We’vecommittedour selves to work for the bands before, during and aftertheirconcert. But how long is that? • Canweinvolve the volunteers in the actualprojectmanaging proces?