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Notes from Barcelona returns with a slightly different spin. With live gigs and music events in the city slowing down over the Christmas and New Year holiday break, January seemed like a good time to delve into one of the few grassroot initiatives fostering live music in the Catalan capital: meet the OpenMusic Project.
OpenMusic is a Barcelona-founded movement looking at enabling and discovering emerging music talents in unlikely places, primarily by organizing pop-up live concerts in alternative venues around the city. The initiative started in 2014 and has so far put up dozens of gigs almost everywhere around town, ranging from local bars and shops to reclusive underground venues. To achieve this, the organisation works hard all year round to enable variety and continuity for both gig-goers and the project itself.
We had the chance to speak to OpenMusic Project’s Juan Criollo, who co-founded the initiative alongside his friend Eneko, playing a pivotal role in developing it into a fully-fledged reference point for the local underground scene.
Our chat touched upon a wide variety of topics, from assessing Barcelona as a musical city, judging the quality of local talents, to discussing how to maintain a cultural hub embedded in a region that is trapped in a deep socio-political crisis.
Juan first realised there was a big opportunity for alternative live music venues and experiences in Barcelona after noticing similar movements in France and England. He didn’t have to wait long before setting up a working group, motivated by a similar, shared enthusiasm among his peers. “The initial excitement and great potential behind OpenMusic Project resulted in an increase of the working team to five people. Each member with a real passion and creative skills ready for contribution”.
Despite the many potential obstacles, including inconvenient alternative spaces and venues, the goal of removing any separation between the artists and the public, both physically and metaphorically, keeps Juan motivated. “Big music festivals have you stand miles away from the stage with nothing but a giant TV screen videoing the performance. But to experience artists where you can nearly touch the guitar, that creates an entirely new way of experiencing, hearing and enjoying their music”.
After the success and traction of the first months, Juan was forced to reduce the team, primarily because of overlapping remits with venues’ catering and additional services. The team “has now returned to its original size of two people – myself and another friend, David from Xtrarradio Musicfest”.
“The collaboration with David has been monumental. Between him, myself and the various venue services, we are able to function and operate with great success and efficiency”. David’s scope includes booking and negotiations, leaving Juan to handle marketing and promotion. “This can range from posters, magazines, media, to deals and communications with agencies and sponsors. I also personally manage and cater for the bands once they arrive at Barcelona. Having bands crash on your couch is definitely one handy way of getting to know them”.
The conversation soon turns to musings about the notion of the Catalan capital as a recognised music city. Juan’s opinion is clear: he believes Barcelona portrays a strong image for being a music city internationally, yet at the same time it could do more to break away from its working leitmotiv only including the same handful of venues for all kinds of concerts and events.
In response to this perceived comfortable laziness on the part of the scene and its promoters, Juan counter argues that “the city actually offers endless potential spaces if utilised in the right way. Barcelona is full of aesthetically appealing abandoned spaces sitting idle and going to waste. The advantage of its amazing weather transforms public spaces such as rooftops and parks into perfect music venues”.
Whilst he figures that OpenMusic Project has only been able to explore a small portion of all that’s available in the city, the idea of Barcelona as a music hub is being leveraged by established stakeholders in order to reach out to the biggest and best players in the industry – not least hosting two of the biggest summer festivals in Europe (Primavera Sound and Sónar).
However, he also firmly believes that local underground artists aren’t being supported enough. “If it continues, they won’t ever see a local band headlining one of these big concerts. This is something OpenMusic Project is passionate about and influencing to change. No matter how big the band is headlining, we will always open with a local band”.
Almost inevitably, this stream of consciousness leads to the impact of the recent socio-political crisis – culminating in the unilateral declaration of independence of last October – and its effects on the scene. On this, he reveals that the sole noticeable change he observed when Catalonia’s secession challenge crisis first began, was that people were so consumed by political affairs that they weren’t wanting to go out and attend events as much.
In relation to such tumultuous times, he lets in that OpenMusic Project did receive a number of expressions of concern and insecurities on the part of foreign bands in regards to travelling to Barcelona. Luckily, this never had to lead to any cancellations or bigger changes in plans and now, “it’s just business as usual”.
We later touch upon some of his favourite moments since kickstarting the initiative, and while he admits that some of the project’s collaborations with “cool brands such as Kr3w, Obey, and Supra” were all highlights for him, it’s the creation of their own festival Mayday Mambo that holds his sweetest memory. The three-day, multi-venue event from last May gave OpenMusic the opportunity to gather and collect “all the bands we love from all over the world. We brought bands from Australia, Canada, UK and basically all Europe”.
It’s clear that punk rock, hardcore, and psychedelia all play pivotal roles as genres when it comes to OpenMusic’s concert programming and target audience. Some of the better musical discoveries made by the project have all come out of the broader alternative rock scene. Asked to handpick a few local artists to watch for the future, Juan is quick to select Los Nastys, The Parrots, Aliment, Biznaga, Futuro Terror, and La Plata.
We wrap up the conversation by looking at what’s next for OpenMusic this year: “Of course, the ultimate goal is to get bigger bands. However, this year we also want to work on further establishing a strong brand recognition for OpenMusic. We want to create a more solid local scene around the project whereby people value, respect, and trust the brand and the promoters behind it”.
It’s not hard to realise how this would translate in practice: a quest of achieving a transcendent awareness for the movement. Even if people don’t know the bands playing a given event organised by the project, by knowing that OpenMusic is behind said event, those people would still choose to attend, because they would be sure it’s going to be worthwhile as guaranteed by the OpenMusic stamp.
Why would this be such an important step forward for 2018? “Because ultimately”, Juan wraps up, “those would be the people who share the exact same passion we have for discovering new music unconditionally”.
Fins la pròxima vegada i bon any nou!
Still, I’d urge you all to check out the source feature article directly on Punktastic too, as it’s wonderfully wrapped in shiny and fancy designs as well as relevant music discovery embeds that massively elevate the final product. More generally, go show them some love and explore all the incredible articles and reviews they publish, as it’s by far a much better site than this one and you won’t be disappointed.
I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.