It was late at night. I watched the fireworks and listened to the final beats of the festival. They had been there for two weekends. There were thousands of them, all equally mesmerized by that different world they had stepped into. I wasn't there but I could hear them from my balcony, twelve kilometers away. I wasn't angry or annoyed by them either.
In a way, I was proud. I was proud that a festival in this small country managed to do all the things that Tomorrowland can. It's become the landmark for electronic dance music festivals around the globe and it's an overwhelming spectacle for everyone involved. More than that, Tomorrowland is the apogee of Belgium's pioneering work in the dance music scenes, which started decades ago when a DJ accidentally invented Popcorn music (read about that in part one of these series).
When the wind turned, I could hear another festival, Sfinks Mixed, a world music festival that is free and family friendly. In more than one aspect, Sfinks is different from Tomorrowland. While the one has a corner with bouncing castles and slides, the other one is a playground for adults. Apparently, as I read in the newspaper, there had been an incident on Sfinks festival. Boef, a Dutch performer stopped the show after only a few songs. According to the story, the tent was packed to capacity, mostly with children who wanted to see their idol. The situation got out of hand when people started shuffling towards the stage. Adults pushed themselves between the groups of children. Several youngsters fainted and others got separated from their parents. The rapper had already told the adults to remain in the back but apparently, there is a difference between listening to music and listening to the artist. So, Boef had no other option than to quit. It was just not safe anymore.
When the wind turned, I could hear another festival, Sfinks Mixed, a world music festival that is free and family friendly. In more than one aspect, Sfinks is different from Tomorrowland. While the one has a corner with bouncing castles and slides, the other one is a playground for adults. Apparently, as I read in the newspaper, there had been an incident on Sfinks festival. Boef, a Dutch performer stopped the show after only a few songs. According to the story, the tent was packed to capacity, mostly with children who wanted to see their idol. The situation got out of hand when people started shuffling towards the stage. Adults pushed themselves between the groups of children. Several youngsters fainted and others got separated from their parents. The rapper had already told the adults to remain in the back but apparently, there is a difference between listening to music and listening to the artist. So, Boef had no other option than to quit. It was just not safe anymore.
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Start them young - keep them safe
Maybe it's because Belgian babysitters are becoming increasingly expensive but I see more and more children at festivals. I've been watching this trend in the past six or seven years, mostly because I've been watching out in order not to step on the little brats. Still, I don't think it's a bad thing to bring your children to a festival. Personally, I'd rather see my kid enjoying a good band instead of getting its brain numbed by television. I think it's a good experience for them and they can surely learn a thing or two (that there's more in the world than K3, for example). Yet, some conditions apply.
1. There has to be enough room. Kids are energetic little flesh bags and they like to run around for some bizarre reason. In the middle of a mosh pit, that running around can ruin the atmosphere so make sure that there's plenty or room for your little Duracell-bunny to rage.
2. The kids must be guarded at all times. On a festival that's no different than in any other situation. It's called "responsibility" and it means that, when you bring your little rocker, you can no longer pass out drunk.
In fact, when I wrote this part of this article, I was thinking of one of my facebook friends who occasionally brings his daughter to concerts and festivals. It's great to see how she brings some pure joy to an otherwise loud and intense event. People are getting to know her. They play with her, talk to her, party with her. She's probably a pretty smart kid too and she definitely enjoys the attention. By the time she will be old enough to develop her own musical style, she will be widely influenced and that is a good thing. Even scientifically, that's a good thing, just read Dick Swaab's books.
1. There has to be enough room. Kids are energetic little flesh bags and they like to run around for some bizarre reason. In the middle of a mosh pit, that running around can ruin the atmosphere so make sure that there's plenty or room for your little Duracell-bunny to rage.
2. The kids must be guarded at all times. On a festival that's no different than in any other situation. It's called "responsibility" and it means that, when you bring your little rocker, you can no longer pass out drunk.
In fact, when I wrote this part of this article, I was thinking of one of my facebook friends who occasionally brings his daughter to concerts and festivals. It's great to see how she brings some pure joy to an otherwise loud and intense event. People are getting to know her. They play with her, talk to her, party with her. She's probably a pretty smart kid too and she definitely enjoys the attention. By the time she will be old enough to develop her own musical style, she will be widely influenced and that is a good thing. Even scientifically, that's a good thing, just read Dick Swaab's books.
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We're weird and we're proud of that
Bandcamp currently has a special about weird Belgian music (read), which they call "The New Weird Belgium". That title made me giggle. There is no "new" weird Belgium. We have always been weird. Or better, we have always been experimental.
For me personally, the fascination with the more experimental ànd local sides of the music scenes started with a band from Hasselt. The bass player worked at the bar where I used to write my first lyrics. The band, led by the charismatic Mauro Pawlowski, won Humo's Rock Rally in 1994.
After the band disbanded in 1998 Mauro went on to do amazing and bizarre things. He joined one of Belgium's biggest bands ever, dEUS and recorded heaps of albums under heaps of monikers. Another Evil Superstars member, Tim Vanhamel, formed Millionaire, another massively popular band in this area. Tim also played in Eagles Of Death Metal. But I know him from his time with Sister Poopoo. Yes, I am that old.
For me personally, the fascination with the more experimental ànd local sides of the music scenes started with a band from Hasselt. The bass player worked at the bar where I used to write my first lyrics. The band, led by the charismatic Mauro Pawlowski, won Humo's Rock Rally in 1994.
After the band disbanded in 1998 Mauro went on to do amazing and bizarre things. He joined one of Belgium's biggest bands ever, dEUS and recorded heaps of albums under heaps of monikers. Another Evil Superstars member, Tim Vanhamel, formed Millionaire, another massively popular band in this area. Tim also played in Eagles Of Death Metal. But I know him from his time with Sister Poopoo. Yes, I am that old.
Today, the "weird' is everywhere. I recently watched Hypochristmutreefuzz do their thing at Gent Jazz. Coined as a noise rock act, these guys play with all kinds of genres and equipment, including noise, rap, rock and electronics. Hypochristmutreefuzz is simply another incarnation of the Belgian's experimental approach. Many bands have come before them and many will undoubtedly follow.
At that same festival, DAAU (short for Die Anarchistische Abendunterhaltung) also played a few sets. The current line-up consists of Roel Van Camp (accordion), Han Stubbe (clarinet), Hannes D'Hoine (upright bass) and Jeroen Stevens (drums, marimba). DAAU does something exciting with jazz, klezmer and classical music. Long ago, they decided not to stick to one genre, something many Belgian artists have in common.
We have always been weird and we have never given a fuck about it. In 1958, Roeselare born Louis De Meester created this sonic nightmare, which is basically a slow, soundscaping assault on your mental state.
At that same festival, DAAU (short for Die Anarchistische Abendunterhaltung) also played a few sets. The current line-up consists of Roel Van Camp (accordion), Han Stubbe (clarinet), Hannes D'Hoine (upright bass) and Jeroen Stevens (drums, marimba). DAAU does something exciting with jazz, klezmer and classical music. Long ago, they decided not to stick to one genre, something many Belgian artists have in common.
We have always been weird and we have never given a fuck about it. In 1958, Roeselare born Louis De Meester created this sonic nightmare, which is basically a slow, soundscaping assault on your mental state.
We're badly managed but we'll manage
Apart from Studio 100, Belgian music is managed badly. But what would you expect, this whole country is managed badly. There is no easy guidance over here. When you record a single in Belgium, at least five people will immediately contact you. Not to help, only to fill their own pockets. A shady manager, a shadier copyright organisation, the tax man and those two facebook followers you thought were friends, they will all be there at your first gig.
Perhaps that's why many Belgian artists loved to work with Bidi Van Drongelen. Bidi passed away recently, sending a shockwave through the Dutch and Belgian heavy music scenes. As booking agent, he worked with Bliksem, Channel Zero, Cowboys & Aliens, Steak Number Eight and countless of other bands from all over the world. To most of them, Bidi was more than a booking agent. He was a friend, a living metal encyclopedia and a hedonist. He was the embodiment of the Dutch know-how and commercial talent that we Belgian mostly lack. I have never met Bidi in person but from behind my computer screen, I noticed his constant presence, coming through emails and facebook messages. I also read all the in memoriams and I watched all the tributes. Bidi will surely be missed here.
Bad management has always been an issue in this little country. It leads to band splitting before breaking through, artists ending up on the streets and other unpleasantries. If it wasn't for greedy agents and incompetent personnel, many of our bands would have been a lot bigger, especially in the underground scene. Some bands would have been huge instead of the one hit wonder they're known for today.
Bad management has always been an issue in this little country. It leads to band splitting before breaking through, artists ending up on the streets and other unpleasantries. If it wasn't for greedy agents and incompetent personnel, many of our bands would have been a lot bigger, especially in the underground scene. Some bands would have been huge instead of the one hit wonder they're known for today.
But, like the title said, we will manage. Apparently, nothing will stop us from forming bands, crawling behind a computer to create some amazing electronic music, sing in choirs or play piano on the shopping streets. We're a musical nation and deep within we seem to know how it should work. Just look at some of our scenes. Here in Antwerp there is a whole scene around the Rodeo shows/Antwerp Music City. Bliksem frontwoman Peggy now does amazing things with Interstellar Deathroll. Local bands are being picked up to support international headliners on a daily basis.
Oh, about that. There had been a little fuzz around a certain journalist who claims that support acts are useless. He wrote an article about it, asking organisers to stop booking local support acts. (Dutch readers can read the article here). He claims that if you want to see Slowdive (for example), you always have to watch some boring, unimaginative local band. I wanted to punch that guy in the face and I'm not an aggressive person.
So instead of whining about the lousy quality of an otherwise hard working support act, why don't you journalist person do the fashionable thing and just come late. If you don't want to be annoyed by amateurs, ignore them. Life would be so much better if more people would just ignore stuff. Besides, the rest of us, who support the support act can easily live without your bored sighs and childish yammering.
Oh, about that. There had been a little fuzz around a certain journalist who claims that support acts are useless. He wrote an article about it, asking organisers to stop booking local support acts. (Dutch readers can read the article here). He claims that if you want to see Slowdive (for example), you always have to watch some boring, unimaginative local band. I wanted to punch that guy in the face and I'm not an aggressive person.
So instead of whining about the lousy quality of an otherwise hard working support act, why don't you journalist person do the fashionable thing and just come late. If you don't want to be annoyed by amateurs, ignore them. Life would be so much better if more people would just ignore stuff. Besides, the rest of us, who support the support act can easily live without your bored sighs and childish yammering.
We're actually a small village with a lot of sound
Belgium is small. The average pool in Dubai is probably bigger than our entire country. But there is music everywhere. Not only are we talented, we also seem to learn the basic needs of getting your music underground thrive. We cooperate, we experiment and we show respect. In that line, I'd like to end this part of 'Belgium - The capital of the (underground) music scene' with a song that has moved me a lot in the past few weeks.
AmenRa is currently one of Belgium's biggest things, especially in the world of slow and heavy. They too have a whole scene around them, which is called "The Church Of Ra". Their beautiful cover of 'Het Dorp', originally recorded by Zjef Vanuytsel in 1970 is a genuine show of respect for the musical history of this country. The song has been playing numerous times a day in the past few weeks, with good reason too.
AmenRa is currently one of Belgium's biggest things, especially in the world of slow and heavy. They too have a whole scene around them, which is called "The Church Of Ra". Their beautiful cover of 'Het Dorp', originally recorded by Zjef Vanuytsel in 1970 is a genuine show of respect for the musical history of this country. The song has been playing numerous times a day in the past few weeks, with good reason too.
