In the progressive and democratic landscape of the European Union, where inclusion, diversity, and gender balance are heralded as priorities, trending topics and even foundational pillars within the culture and music industry, it has come to light that the Balkan region home to over 55 million people - Albania, Bosnia and Herzegovina, Kosovo, Montenegro, North Macedonia, Serbia, and EU member states Romania, Bulgaria, Greece, Slovenia, and Croatia, remains widely absent and almost entirely marginalized from the continent's musical narrative. This study aims to explore the reasons behind this significant oversight, questioning why such a territorially vast, populated and culturally rich area is nearly invisible on the European music map.

We aim to present a data-driven, research-based approach to understanding the causes of this underrepresentation, and offer solutions to overcome the barriers that have long prevented Balkan artists from reaching their full potential on the European and global stage.

Our research draws on a comprehensive range of data sources, including regional neighboring rights societies—such as Prophon in Bulgaria, PI-Organization for Collective Administration of Performers Rights in Serbia, CREDIDAM in Romania, and HUZIP in Croatia—as well as musicians' unions, and music export offices like Kosovo’s Music Export Office, Croatia's We Move Music, Slovenia's SIGIC, Romania’s Raw Music, and Serbia Creates. We also used insights from digital platforms, notably Gigmit, to capture the breadth of artist representation across the region.

Additionally, statistical data from entities such as the Bulgarian Music Association (BMA), the Croatian Musicians Union, Romanian CREDIDAM, Creative Europe Desks across the SEE region, and international data sources like Eurostat were analyzed. Interviews with a variety of stakeholders—festival curators, music programmers, national broadcasters, musicians, and cultural representatives—allowed us to capture a broad spectrum of perspectives. This multi-source approach enables a nuanced, data-driven analysis of the music industry landscape within SEE.

A critical component of our methodology includes an impact survey conducted by the Association of Independent Record Labels and Publishers – Bulgaria (ANMIP-BG), an IMPALA member organization. From October 10 to November 5, 2024, ANMIP-BG gathered 71 survey responses to assess the effects of Spotify’s 1,000-stream threshold policy on artist revenue in the SEE region. The survey, encompassing labels and artists of varied catalog sizes and genres, revealed substantial revenue impacts, especially among larger catalogs and niche genres like folklore. This targeted data offers essential insights into the digital barriers affecting SEE artists’ compensation and representation, emphasizing a need for inclusive streaming policies. Incorporating ANMIP-BG’s findings strengthens our understanding of digital policy impacts on SEE artists and aligns with our broader examination of structural challenges within the European music industry.

This layered approach, combining regional statistics, digital platform insights, and direct feedback from stakeholders, ensures that our analysis accurately reflects both quantitative and qualitative dimensions of the SEE music industry.

2022

At WOMEX 2022, no artists from the Balkans were included in the official showcase programme, marking the beginning of a multi-year pattern of low visibility for the region. For contextual clarity, it should be noted that Ivo Papasov (Bulgaria) received the WOMEX Artist Award in 2022; however, this recognition is independent of the official showcase selection and therefore does not reflect the platform’s support for emerging artists from the region.

The 2022 jazzahead! official showcase selections reveal a similar situation: there were no acts from Balkan countries in the curated programme. Thus, across both WOMEX and jazzahead! In 2022, SEE artists were entirely absent from the official line-ups, despite the events’ stated commitment to diversity and international representation.

At ESNS 2022, out of a total of 214 artists, the line-up included 7 artists from SEE: 2 from Slovenia, 1 from Bulgaria, 1 from Serbia, 1 from North Macedonia, 1 from Greece and 1 from Romania, with 0 artists from Croatia, Albania, Kosovo, Montenegro and Bosnia. While this demonstrates some initial regional presence, it still represents a small proportion of the overall programme for a region of over 55 million people.

At Tallinn Music Week 2022 (175 artists), SEE participation consisted of three (3) acts:1 from Serbia,1 from Romania and 1 from Slovenia.

At The Great Escape Festival (UK), MaMA Music & Convention (France) and Linecheck (Italy) in 2023 there were no performers from the SEE region.

2023

In 2023, Balkan representation in jazzahead!’s curated programme remained extremely limited. The official showcases included only one Greek-led project, Georgios Tsolis Quartet (GR), within a line-up otherwise dominated by artists from Western, Northern and Central Europe. Across these early years of the period under review, Balkan participation at jazzahead! fluctuates between 0 and 1–2 acts per year (mostly from Greece and Slovenia) out of roughly 38–40 showcase slots annually, even as several countries from the region (Bulgaria, Kosovo, Romania, Croatia, Slovenia, Serbia) invest in national stands and expo presence at jazzahead! and WOMEX but remain largely absent from the official showcase line-ups.

Tallinn Music Week 2023 hosted 176 artists spanning Europe, North and South America, Canada, Africa and the Middle East, with Estonia providing the largest share (84 acts), followed by Finland (11), the United Kingdom (9), Canada (8), Latvia and Germany (7 each), Ukraine (6), Lithuania, France and Sweden (5 each). The SEE region was represented by only two artists: Mirian Kolev from Bulgaria and K not K from Romania.

Based on the officially listed selection of artists, the statistics for 2023 show that ESNS selected 14 artists from the SEE region, with the band freekind. listed both as Croatian and Slovenian and Bulgarian Cartrader listed both as German and Bulgarian.

At Reeperbahn Festival 2023 there was 1 artist from the SEE region, KOIKOI (Serbia).

By contrast, at The Great Escape Festival (UK), MaMA Music & Convention (France) and Linecheck (Italy) in 2023 there were no performers from the SEE region. The Great Escape Festival featured overwhelmingly English artists (49.7%), with a negligible presence of German artists (0.67%) and none from the Balkans or the Baltic countries. MaMA Music & Convention was dominated by French artists, with only minimal representation of German and English artists (1.21%) and again no artists from the Balkans or the Baltic countries.

Estonia, Latvia and Lithuania, by comparison, had 8 performers at ESNS 2023, despite a combined population of less than 7 million people, underscoring the contrast in visibility between the Baltic and Balkan regions.

2024

At ESNS 2024, which aims to book artists from all European (Union) countries featured a total of 212 artists. The Netherlands had the highest representation with 23 artists, followed by Belgium (18), England (14), Germany (13), France (13), Poland (12) and Ireland (9).

Within this context, participation from SEE countries was concentrated but modest. The ESNS 2024 line-up included:
• Bulgaria: 3 artists
• Serbia: 3 artists
• Slovenia: 3 artists
• Croatia: 2 artists (with one artist, freekind., being listed for a second time, since the band is both Slovenian and Croatian)
• Greece: 2 artists
• Romania: 1 artist
• North Macedonia: 1 artist

This amounts to a total of 14 artists from the SEE region, with two - freekind. and Bulgarian Cartrader - being repeated performers from the ESNS 2023 programme due to their Music Moves Europe Awards nominations. Other countries in the region (e.g. Bosnia, Albania, Montenegro, Kosovo) did not have artists listed in the ESNS 2024 line-up nor in any of the other events included in the study.

The demographic comparison further underscores the imbalance. The population of the Balkan countries combined is 55 million people, while Ireland alone (which had 10 artists perform at ESNS 2024) has a population of only 5 million. Iceland, with fewer than 300 000 inhabitants, had more participants (4) than any of the Balkan countries. Romania, with a population of almost 20 million people and a rich and prosperous music industry, had only 1 performing showcase artist at ESNS 2024.

At WOMEX, the 2024 selection featured three acts originating from South-East Europe (SEE): Ali Doğan Gönültaş (Turkey), Zarina Prvasevda (North Macedonia) and Sutartronica (Serbia). This marks a slight improvement compared to 2022 and 2023, when no artists from the Balkans were included in the official showcase programme, but it still represents a very small share of the overall line-up across the 2022–2024 period.

At The Great Escape Festival (UK), MaMA Music & Convention (France) and Linecheck (Italy) in 2024 there were no performers from the SEE region.

At Reeperbahn Festival 2024, which presented over 480 concerts, the SEE region was represented by two (2) artists from Bulgaria, one (1) from Romania and one (1) from Greece, while Turkey was featured with five (5) artists presented in partnership with M.O.B Entertainment.

At Tallinn Music Week 2024 there were 3 artists from the SEE region: Turbo Trans Turisti (Serbia), Lufthansa (North Macedonia) and Johnny Labelle (Greece).

2025

For 2025, cross-festival data show how limited SEE representation remains across major Western European showcase platforms. The festival participation breakdown is as follows:

Festival Participation Breakdown 2025
• WOMEX 2025 (total 60) - 1 (partially from Serbia)
• jazzahead! 2025 (total 38) - 2 (Greece and Turkey)
• Reeperbahn Festival 2025 (450) - 0 SEE artists
• The Great Escape 2025 (458) - 0 SEE artists
• Tallinn Music Week 2025 (217) - 4 artists from Slovenia, Kosovo, North Macedonia, Croatia
• Linecheck 2025 (63) - 0 SEE artists
• ESNS 2025 (222) - 9 artists from Southeast Europe — Serbia (2), Croatia (2), Slovenia (2), Bulgaria (1), Greece (1), Romania (1)

Total: 1.06% (16) of 1508 showcased bands.

Across these six key festivals - WOMEX, jazzahead!, Reeperbahn Festival, The Great Escape, Tallinn Music Week and Linecheck - plus ESNS, a combined total of 1508 bands were showcased, of which only 16 were from Southeast Europe, corresponding to just 1.06% (16) of 1508 showcased bands.

Focusing specifically on ESNS, the 2025 line-up reflects ongoing challenges in achieving balanced representation across Europe, with SEE artists accounting for 4.05% of the total acts. In 2025, ESNS featured 9 artists from the SEE region across six countries: Serbia (2: Lavina, Luka Rajić); Croatia (2: Baby Lasagna, Nemeček); Slovenia (2: Astrid, MRFY); Bulgaria (1: Woomb); Greece (1: Someone Who Isn’t Me); and Romania (1: Musspell). This 4.1% share of the 222 total acts at Eurosonic 2025 constitutes a modest level of participation for a region of over 55 million people. Countries such as the Netherlands (22 artists) and England (21 artists) had notably (and historically) higher representation, which is understandable given the structure of various ESNS programmes and their funding partners. However, the absence of artists from several SEE countries - namely Albania, Bosnia and Herzegovina, Kosovo, Montenegro and North Macedonia - underscores a significant opportunity to further engage and include a broader spectrum of talent from the region in future editions.

At WOMEX, the 2025 edition included a single act with partial Balkan representation — a band featuring one Serbian member (Gordan) — while in the same year the programme included three acts from Estonia, one from Latvia and one from Lithuania, highlighting a notable regional imbalance in representation. Viewed over the 2022–2025 period, WOMEX’s official showcase selections thus indicate a consistent underrepresentation of artists from the Balkan region: no Balkan artists in 2022 and 2023, three SEE acts in 2024, and a single partially Balkan act in 2025.

2026

For ESNS 2026 (excluding Noorderslag), 222 showcasing artists have been announced, of which 17 are from Southeast Europe (SEE). This marks a modest numerical increase compared to 2025 and a slight improvement in overall visibility, though still not a structural shift.

Albania, Bosnia and Herzegovina, and Montenegro remain entirely absent from the line-up, continuing a pattern of long-term exclusion. North Macedonia is represented by one artist, while Kosovo appears with one act, marking a rare and notable inclusion after several years of absence.

There is an increase in representation from Bulgaria (4 artists) and Greece (3 artists), while Romania (2), Serbia (2), Croatia (2) and Slovenia (2) show moderate presence. Kosovo (1) and North Macedonia (1) complete the regional breakdown.

As a result, SEE representation rises to approximately 7.66% of the total ESNS showcase line-up. While this is a step forward in absolute numbers, it still falls significantly short of reflecting the region’s population size, cultural output, and active music ecosystems - confirming that progress remains incremental rather than systemic.

Methodological note: The line-up data for the period 2022–2026 have been compiled from publicly available festival sources (official websites, press releases, social media announcements, archives). Some historical line-ups are incomplete, outdated, no longer accessible or subject to later changes by the festivals. While every effort has been made to cross-check and verify the information, it is not always possible to reconstruct 100% of the data with absolute precision. We estimate that the figures presented here are accurate to at least 99%, and any remaining deviations (typically ±1–2 artists) do not materially affect the overall findings and conclusions of this analysis.

Our research in Bulgaria showed that each year since 2014 over 80 jazz artists have applied multiple times, even when the showcase application had a fee (*application fee for Jazz Ahead). No artists were ever selected.

The disparity in musical equity between the Balkans and the rest of Europe is underscored by a disregard for the diverse music genres evolving within the SEE countries. A critical examination of artist selections for the Jazzahead program reveals an alarming trend: the absence of SEE artists is often justified by the "quality of the applications." However, a closer look at the last five years of selections reveals a preference for specific jazz styles prevalent in Western and North-Western Europe, often labeled as "European jazz" for their experimental nature. This preference suggests a narrow definition of "quality" that overlooks jazz and other contemporary music genres flourishing in Eastern Europe and the Balkans. Such a trend implies that the more traditionally represented Western music scene acts as a gatekeeper, directing the creative development of artists and limiting their access to the international industry. The industry framework seems to exclude anything that might place the Western European sector at a competitive disadvantage, thereby preventing diverse artistic expressions from becoming an integral part of the global music landscape.

The rich history of jazz in Bulgaria, as highlighted by the detailed account of its development***, underscores the significant cultural and musical contributions the region has made to the genre.

This underrepresentation is particularly striking given the region's early and sustained engagement with jazz. Bulgaria, for instance, was introduced to Jazz before World War I and had already embraced jazz by the 1920s, with performances by military bands and the spread through cinema orchestras and imported records. The country produced notable jazz musicians who gained international respect and contributed significantly to the genre's development. The establishment of jazz clubs, orchestras, and the integration of jazz in educational institutions further cemented the genre's role in Bulgarian cultural life. In 1968 the department of Pop and Jazz Music at the Music Academy in Sofia was opened, while in Belgium (as an example of dominating force within European jazz) introduced jazz in the education system 11 years after Bulgaria - in 1979.

The oversight of Balkan jazz by major European showcase events fails to acknowledge the depth and diversity of the jazz traditions in the region. While Western European narratives often define "quality applications" based on a specific experimental approach labeled as "European jazz," the rich and diverse styles developing in the Balkans and Eastern Europe are neglected. This exclusion perpetuates a narrow understanding of jazz and overlooks the rich contributions of Balkan artists, who have been innovating within and beyond traditional jazz boundaries for over 100 years.

The exclusion of Balkan jazz from events like Jazzahead not only highlights a geographical bias but also points to a broader issue of cultural gatekeeping within the European music scene. This gatekeeping limits the exposure and recognition of diverse jazz styles and artists, contributing to a homogenized and Western-centric view of the genre. By failing to include Balkan jazz, these showcase events miss out on the opportunity to celebrate the full spectrum of jazz's global influence and evolution, undermining the genre's foundational spirit of innovation and inclusivity.

LiveEurope: Disproportionate Touring Support

LiveEurope, co-funded by the European Commission since 2014, was designed to support the cross-border circulation of emerging European artists by financially incentivizing venues to programme acts from other European countries. However, official LiveEurope statistics for the period 2014–2025 reveal a clear geographical imbalance between Northern/Western Europe and the Balkans.

Across seven relatively small or sparsely populated countries in Northern/Western Europe, LiveEurope has supported a total of 723 artists: Estonia (34), Lithuania (79), Latvia (38), Iceland (153), Denmark (239), Luxembourg (37) and Finland (143). Over the same period, eleven Balkan and SEE countries together account for 525 supported artists: Croatia (88), Albania (1), Bosnia (3), Bulgaria (23), Greece (76), Kosovo (3), North Macedonia (38), Romania (79), Serbia (101), Slovenia (112) and Montenegro (1). In other words, 7 countries with a combined population of approx. 13.3 million have generated more LiveEurope-supported artists than 11 Balkan countries with over 56 million inhabitants.

The imbalance is most visible at the extremes: Denmark (239) and Iceland (153) alone significantly outpace entire Balkan countries such as Bulgaria (23), Albania (1), Bosnia (3), Kosovo (3) and Montenegro (1), despite the latter representing a much larger combined population and a highly active live scene. This disparity cannot be explained solely by artistic output or “lack of export-ready talent”, given the documented vitality of the region’s music ecosystems. Rather, it points to structural factors: uneven access to information and funding, weaker integration into EU-level programming and venue networks, and persistent stereotypes that continue to position Southeastern Europe as peripheral to the “core” European touring circuit.

Live DMA: Limited Representation and Structural Gaps in the Balkans

Live DMA, a Creative Europe-supported network of music venues, clubs, and festivals, is one of the most influential structures shaping Europe’s live music policy. Its annual reports, sustainability frameworks, and professional development programs play a central role in how the sector evolves across the EU. However, membership remains concentrated primarily in Western and Northern Europe:
• Germany (LiveKomm): 510 venues, approx. 160,000 live performances annually
• France (FEDELIMA): 137 venues (2019), over 17,000 performances per year, 58% public subsidy
• Denmark (Dansk Live): 88 venues (2019), more than €30 million total revenue
• The Netherlands (VNPF): 60 venues (2019), 28,000 annual artist performances, 5.5 million visitors

Since 2025, Bulgaria has taken an important first step:
ABEI became the first Bulgarian organisation to join Live DMA as an associated member, marking an essential milestone for the country’s integration into European venue networks.

Still, most of the Balkan region remains outside the network. As a result, their national venues currently:
• Do not participate in Live DMA’s benchmarking, impact reports, or sustainability programs
• Are not represented in EU-level advocacy processes around fair artist remuneration, gender balance, green transition, or audience development
• Miss opportunities for professionalisation, exchange of best practices, and long-term sector development

This absence has a cumulative effect. When venues are not included in the data, they are not visible in policy discussions; when not visible in policy, they struggle to access resources and remain structurally disadvantaged. The cycle continues.

A key structural challenge is that many Balkan countries still lack a national umbrella association for venues, similar to LiveKomm (DE), FEDELIMA (FR) or VNPF (NL). Without such a representative body, integration into European networks is significantly harder, and individual venues often face barriers in navigating EU programmes, funding schemes, or international collaboration.

Overall, while recent progress, such as Bulgaria’s associated membership—signals positive movement, the region as a whole continues to face substantial barriers to entering and benefiting from the European live-music policy ecosystem.

Structural Consequences

The combined effect of these limitations is twofold:
1. Artists from Southeastern Europe have fewer touring opportunities, reducing their potential for career growth, international visibility, and revenue. (LIVEUROPE)
2. Venues and promoters in the region are limited from EU-level best practices, further perpetuating disparities in working conditions, safety standards, audience development, and environmental planning.

Despite being formally eligible, Southeastern Europe remains informally excluded. This is not a result of lack of talent or ambition, but rather a reflection of deep-seated inequalities in access, recognition, and structural support.

To move beyond rhetoric, EU-supported platforms like LiveEurope and Live DMA must not only acknowledge these blind spots but actively work to correct them - through targeted inclusion strategies, dedicated funding envelopes, and support for regional intermediary structures.

Because of the specifics of the website GigMit and not being able to cover the full scope of the Balkans (for example in the initial search of 500 km radius from Sofia, Croatia and Slovenia were excluded and in 100 km radius from Zagreb there are 845 registered musicians in the platform). Based on the above information our estimation for registered artists from the Balkans likely exceeds 7000 registrants on GigMit.

Another research conducted in Romania, Serbia, Croatia and Bulgaria highlights the number of members at music performers associations and neighboring right society statistics:

Bulgaria
Bulgarian Music Association
- 790 members (official number of performer members)
Prophon’s (Bulgarian neighboring rights society for producers and performers) system has 8,710 registered Bulgarian performers with a current mandate, out of which 1,004 have received remuneration at some point. Currently, there are 236 performer members registered with Prophon.

Croatia
Croatian Performers' Rights Collecting Society - HUZIP
- 9000 registered artists (Approximate number of active members; some members might be deceased.)
Croatian Musicians Union
- 6000 to 7000 active artists

Serbia
PI-Organization for Collective Administration of Performers Rights:
- 3143 registered members.

Romania
CREDIDAM (Romanian Center for Performing Artists Rights Management)
– 16,148 total Romanian performers (as of 31st January 2024), approximately 12,000 are musicians.

The total number of artists in the region, based on the provided numbers, is approximately 35,853. This includes registered performers and musicians from Bulgaria, Croatia, Serbia, and Romania.

Emerging artists

Adding to the discussion on festival representation discrepancies, the SoAlive Music Conference (SAMC) showcases a pioneering effort to bridge this gap by curating a showcase program exclusively featuring 40 music acts from the Balkans. This initiative not only demonstrates the abundance and quality of emerging artists in the region but also sets a benchmark for how festivals and conferences can actively contribute to correcting the underrepresentation of SEE artists. SAMC's dedication to spotlighting Balkan talent illustrates a proactive approach to fostering inclusivity and diversity within the music industry's programming choices.

By giving these artists a platform, SAMC challenges the prevailing norms and showcases the rich, diverse musical scene of the Balkans, underscoring the potential for greater inclusion in festival line-ups globally. This approach not only enriches the festival experience for attendees by introducing them to new and interesting sounds but also sends a strong message about the importance of cultural representation and the need for a more inclusive music industry.

The success of SAMC's showcase program serves as a compelling argument for the inclusion of more Balkan artists in international festival line-ups. It proves that when given the opportunity, SEE artists can captivate audiences and contribute significantly to the cultural and artistic diversity of music festivals. This example should encourage festival organizers in the EU to reassess their programming strategies and consider how they can play a role in promoting a more balanced and diverse representation of artists on the global stage.

These stereotypes not only limit their international exposure but also contribute to a homogenized and outdated perception of Balkan music, sidelining its rich diversity and modern expressions. Expanding on the topic of stereotypes and cultural bias, it's evident that such preconceived notions play a significant role in shaping the opportunities available to SEE artists on the international stage. Stereotypes that pigeonhole SEE music into narrow categories fail to acknowledge the dynamism and innovation present in the region's contemporary music scene. This reductionist view not only misrepresents the artistic diversity of SEE countries but also impedes artists from being recognized for their contributions to various modern music genres.

The impact of cultural bias extends further, influencing the decision-making process of festival organizers, record labels, and curators, who might be less inclined to engage with SEE artists due to a lack of familiarity or appreciation for the region's music. This bias not only hinders the visibility and accessibility of SEE music but also discourages artists from pursuing opportunities that could lead to broader recognition.

Furthermore, this cultural bias contributes to a cycle of underrepresentation, where Balkan artists are less likely to be featured in international music festivals, showcases, and playlists, further entrenching the stereotypes. It creates a barrier to entry for emerging artists who wish to break free from traditional labels and showcase their music on a global platform. It’s a vicious circle, which has to be overcome by acknowledging the problem.

This disparity not only affects their capacity for international exposure but also underscores a broader issue of accessibility within the global music ecosystem.

The lack of well-established music export offices in the SEE region, with only a handful currently operational (such as Kosovo, Croatia's We Move Music, Slovenia's unofficial SIGIC, Serbia Creates - intergovernmental umbrella body in charge of international promotion and export in the fields of creative industries, innovation and knowledge-based economy, Raw Music in Romania - which functions as an export office and is European Music Export Exchange member) and Romanian Cultural Institute (Inter-governmental structure) underscores a structural gap in support for music export initiatives. Despite this, it's noteworthy that nearly all countries in the region offer some form of mobility funding and support for artists' participation in international events, indicating a recognition of the importance of cultural exchange and the global showcasing of local talent.

Most SEE countries are actively investing in export initiatives, including stands, expo booths, and participation in international conferences, demonstrating a commitment to overcoming these barriers. In Bulgaria, the Bulgarian Music Association and the SoAlive Music Conference play pivotal roles in disseminating information on funding opportunities and open calls for showcases to their members and newsletter subscribers. They also provide essential guidance on the application process for funding, showcasing a proactive approach to facilitating artists' international engagement.

However, these efforts face challenges due to the region's underrepresentation in major music events and platforms, highlighting the need for more substantial and coordinated support mechanisms. The financial and structural obstacles SEE artists encounter not only limit their opportunities for international career development but also impact the diversity and richness of the global music scene, underscoring the urgency of addressing these disparities to foster a more inclusive and equitable music industry.

Distribution of Cultural Organizations Participating in MUSIC Cooperation Projects (2014 - 2020)

South East Europe (SEE)

• Albania: 3
• Bosnia and Herzegovina: 4
• Kosovo: 0
• Montenegro: 4
• North Macedonia: 3
• Serbia: 18
• Romania: 14
• Bulgaria: 6
• Greece: 21
• Slovenia: 15
• Croatia: 12

Total SEE Projects: 100

Selected Western/Northern Europe Countries

• Belgium: 53
• Netherlands: 31
• Denmark: 10
• Luxembourg: 8
• Norway: 25
• Finland: 14
• Sweden: 10
• Ireland: 7

Total Selected Western/Northern Projects: 158

Population and Size Comparison

South East Europe
Population (millions): 55
Area (sq km): 871,000
Funded Projects: 100

Selected Western/Northern Europe
Population (millions): 66
Area (sq km): 1,071,000
Funded Projects: 158

Funded Projects Per Capita

• SEE Funded Projects Per Million: 100 / 55 = 1.82 projects per million
• Selected Western/Northern Funded Projects Per Million: 158 / 66 = 2.39 projects per million

Percentage Difference in Funding

To calculate the percentage difference in funded projects between SEE and selected Western/Northern Europe:

1. Total Projects Difference: 158 (Western/Northern) - 100 (SEE) = 58
2. Percentage Difference: approx 36.7%

Analysis

1. Population and Area:

• Selected Western/Northern Europe has a slightly higher population and area compared to SEE, yet the number of funded projects is significantly higher.

2. Funded Projects Per Capita:

• Selected Western/Northern Europe has a higher number of funded projects per capita (2.39 projects per million) compared to SEE (1.82 projects per million), indicating better funding accessibility and representation.

3. Funding Disparity:

• There is a 36.7% difference in the total number of funded projects, indicating a significant funding disparity favoring Western/Northern Europe.

4. Implications for Cultural Representation:

• The disparity in funded projects suggests that SEE countries are underrepresented in EU cultural funding initiatives. This disparity can impact the development of the cultural and music sectors in these countries, limiting their ability to compete on equal footing with their Western/Northern counterparts.

The comparative analysis highlights a substantial imbalance in the distribution of funded projects between South East Europe and selected Western/Northern Europe countries. Addressing this disparity is crucial for promoting a more inclusive and diverse European cultural landscape, ensuring that all regions have equitable opportunities to showcase their cultural and artistic contributions on the global stage. The data suggests that while SEE projects receive adequate funding per capita, the overall number of projects is insufficient compared to the larger, more populated Western/Northern European countries. This indicates a need for more focused initiatives to support the cultural sectors in SEE countries.

Summary of Lead Partners and Project Scale

South East Europe (SEE)

• Total Projects: 100
• Lead Projects: 53

Breakdown by Country:

• Albania: 3 projects, 1 lead
• Bosnia and Herzegovina: 4 projects, 1 lead
• Bulgaria: 6 projects, 2 lead
• Greece: 21 projects, 12 lead
• Croatia: 12 projects, 8 lead
• Montenegro: 4 projects, 2 lead
• North Macedonia: 3 projects, 2 lead
• Romania: 14 projects, 8 lead
• Serbia: 18 projects, 10 lead
• Slovenia: 15 projects, 7 lead

Western/Northern Europe

• Total Projects: 158
• Lead Projects: 88

Breakdown by Country:

• Belgium: 53 projects, 29 lead
• Netherlands: 31 projects, 18 lead
• Denmark: 10 projects, 5 lead
• Luxembourg: 8 projects, 5 lead
• Norway: 25 projects, 13 lead
• Finland: 14 projects, 8 lead
• Sweden: 10 projects, 6 lead
• Ireland: 7 projects, 4 lead

Other European Countries

• Total Projects: 386
• Lead Projects: 223

Highlights:

• Countries like France, Belgium, and Germany lead in both participation and leadership.
• SEE countries show significant leadership despite fewer total projects.
• Western/Northern Europe dominates in project leadership compared to SEE.

Key Statistics:

• Total Projects: 644
• Total Lead Projects: 364

This summary highlights the disparity in project leadership and participation between South East Europe and Western/Northern Europe, emphasizing the need for more inclusive representation and support for SEE countries.

Established framework and new dynamics in the SEE

The evolving dynamics within the European music industry reveal significant challenges for the SEE region, particularly concerning its integration and recognition within the EU's established frameworks. Two examples elucidate this issue:

National Music Councils: The concept of a National Music Council, serving as the official representative for a country's entire music sector, has its roots in the mid-20th century and has proven effective for countries that adopted it during that period. However, within SEE countries, such organizational structures are often associated with communist regimes and are poorly received today. Instead, these countries have developed professional organizations that, while not representing the entire sector by definition, have advanced policy-making efforts on national and international levels and are recognized by state authorities. These organizations may represent specific industry segments (e.g., performers, entertainment industry associations, or independent labels) and have become the primary voice for the industry. Proposals to merge them into a larger, overarching organization like a National Music Council could jeopardize their successful advocacy work. Yet, European music organizations and networks have not fully acknowledged this nuanced landscape, still expecting a singular National Music Council for equal decision-making rights.

Music Export Offices: Similarly, the expectation for a single, state-recognized organization to handle all music export activities does not align with the realities in the SEE region. Here, multiple organizations within a country may engage in music export, supported and recognized by their governments for their contributions to the field. The European insistence on a unified Export Unit overlooks the dynamism and competitiveness among these organizations, which, in fact, accelerates the development of music export activities. This diversity of export-focused entities allows for both collaboration and competition, fostering a faster catch-up with Western European music industries.

These two examples highlight a critical gap between the expectations of established European models and the innovative, diverse approaches emerging in the SEE region. Recognizing and adapting to these differences is essential for fostering genuine inclusion and leveraging the full potential of Europe's musical diversity.

Geographical Equality and Treatment of Balkan Promoters by Agencies

Through extensive research and interviews conducted with key promoters in the Balkan region, we have uncovered significant issues regarding the treatment of promoters by major music agencies. Our study involved 12 detailed interviews with key promoters, revealing a troubling pattern of bias and unequal treatment compared to their Western European counterparts.

Promoters in the Balkans frequently report receiving less support from agencies when organizing shows and events. Unlike the collaborative approach often extended to Western European promoters, Balkan promoters face stringent demands, such as the requirement to pay the full fee of the artist upfront. This practice places a considerable financial burden on these promoters, who must secure substantial funds well before the event, adding significant risk to their operations.

Furthermore, agencies and artists often hold no liability for last-minute cancellations, leaving promoters to shoulder the financial and reputational consequences alone. This lack of accountability not only affects the promoters' businesses but also tarnishes their relationships with audiences and local stakeholders. The absence of a safety net for promoters in the Balkans contrasts sharply with the more balanced and supportive arrangements seen in other parts of Europe.

Even festivals that are members of YOUROPE, the European Festival Association, encounter difficulties. Despite adhering to YOUROPE's standards and guidelines, these festivals often face agencies that refuse to comply with YOUROPE's terms, solely based on the region. This selective enforcement of policies exacerbates the challenges faced by Balkan promoters and highlights a systemic bias within the industry.

Our interviews revealed a consistent sentiment among promoters that the Balkan region is undervalued and unfairly treated by major music agencies. Promoters expressed frustration over the lack of respect and recognition for their efforts to promote music and culture in a region with rich historical and cultural significance. They emphasized the need for more equitable treatment to foster a thriving music ecosystem in the Balkans.

The disparity in treatment between Balkan promoters and their Western European counterparts is a significant barrier to the growth and development of the music industry in the region. It hinders the ability of local promoters to attract major acts and organize successful events, ultimately impacting the music landscape and economic opportunities in the Balkans.

Addressing this issue requires a concerted effort from agencies, policymakers, and industry stakeholders to ensure fair and equitable treatment for all promoters, regardless of their geographical location. By recognizing and rectifying these biases, the music industry can support the flourishing of diverse cultural expressions and contribute to a more inclusive and successful European music scene.

Without dedicated personnel who understand the linguistic nuances, cultural context, and musical diversity of the region, SEE artists are often sidelined in favor of more globally recognized English-speaking artists.

This lack of representation forces many SEE artists to adapt their music to fit more "marketable" criteria, such as singing in English, to stand a chance of being included in influential playlists. Such compromises can dilute the regional identity and uniqueness of their music, potentially alienating local audiences without necessarily guaranteeing broader international success. Moreover, the absence of regional curators means that SEE artists have to invest significantly more in Spotify promotion and other direct marketing efforts to reach outside audiences. These additional costs can be prohibitive for artists from regions with fewer resources and lower levels of industry support.

The growth of Spotify's user base in Bulgaria by 20+% in 2023 (based on IFPI’s report) illustrates a rising demand for digital music content in the region. This increase signals a substantial market opportunity that remains largely untapped due to the platform's current curatorial policies. By not assigning a regional manager or curator who understands the Balkans' unique cultural and musical landscape, streaming platforms miss out on fostering a more diverse and inclusive musical ecosystem. Such a role could bridge the gap between SEE artists and global audiences, promoting cultural exchange and enriching the global music scene with the Balkans' distinct sounds and stories.

The urgent need for action by the European Union (EU) to safeguard cultural diversity and ensure the fair representation of South East European (SEE) artists on streaming platforms cannot be overstated. The EU, with its foundational principles of promoting unity while respecting diversity, has a pivotal role in addressing the geographical biases and underrepresentation issues within the digital music landscape.

The lack of SEE curators on major streaming platforms not only marginalizes artists from the region but also restricts the cultural diversity available to global audiences. This situation undermines the EU's objectives of cultural diversity and inclusivity, as it limits the exposure of rich musical traditions that form an integral part of Europe's cultural heritage. By allowing such biases to persist, the EU risks losing an essential aspect of its cultural identity, as the unique sounds, languages, and stories from the Balkans and other SEE regions remain underexplored and underappreciated on a global scale.

Urgent action is required to ensure that the digital music ecosystem reflects the diversity of its member states and promotes equal opportunities for all artists, regardless of their geographical origin. This includes encouraging streaming services to appoint regional curators for underrepresented areas and supporting initiatives that aim to increase the visibility of SEE artists. Such measures would not only benefit artists from these regions by providing them with the platform they need to reach wider audiences but would also enrich the global music scene with their unique cultural contributions.

The EU has the tools and the mandate to lead this change, through policy, funding, and advocacy, to ensure that the digital realm serves as a space that truly represents the diversity of its peoples. By taking action to address these disparities, the EU can safeguard cultural diversity, support the creative industries, and foster a more inclusive and equitable digital music landscape. This is not just about promoting regional music; it's about preserving the richness of European culture for future generations, ensuring that every voice has the chance to be heard, and every culture the opportunity to flourish in the digital age.

Impact Analysis of Spotify’s 1,000-Stream Policy on Artist Revenue in South East Europe (SEE)

The recent analysis by ANMIP-BG highlights the substantial impact of Spotify's 1,000-stream policy on artists and labels in South East Europe. According to survey responses from 71 industry professionals, the threshold policy disproportionately affects those with large catalogs and niche genres, such as folklore and regional music. 65% of respondents reported a significant negative impact on revenue, particularly labels managing over 100 tracks. Labels with extensive catalogs find the policy "punishing," as many artists in SEE are unable to meet the threshold despite contributing high-quality, genre-diverse music.

The feedback indicates overwhelming opposition to the policy, with 85% of respondents advocating for more inclusive streaming practices. Suggestions include lowering or removing the threshold, improving algorithmic support for lesser-known artists, and assigning local curators to promote regional music on Spotify. This analysis offers crucial insights for stakeholders in the EU music industry, emphasizing the need for fairer digital policy structures that ensure equitable compensation and representation for artists across all regions.

1. Reforming Festival Selection Processes: Major European festivals should adopt more transparent and inclusive selection processes, ensuring that SEE artists have equal opportunities to perform and showcase their talents. Removing language barriers and modernizing the selection criteria will open the door for a wider range of artists from diverse backgrounds.

2. Appointing Regional Curators for Streaming Platforms: Streaming platforms like Spotify should assign regional curators for the Balkans to ensure that SEE artists are adequately represented on key playlists. This will help bridge the gap between local artists and global audiences.

3. Supporting Music Export Initiatives: EU institutions should increase funding for music export offices in SEE countries, while fostering collaboration between existing export offices. This will help artists gain access to international markets and create sustainable careers in music.

4. Expanding Mobility Funding: SEE governments should enhance mobility funding for artists, ensuring that they have the resources needed to participate in international showcases and festivals. This would also require greater collaboration with EU cultural funding programs to ensure that SEE artists are included in future EU cultural initiatives.