#Kontakt24 Panel Report: What does the promotion of young alternative artists in Serbia look like today?

Foto: Belkisa Abdulović / CEBEF

The panel titled “What does the promotion of young alternative artists in Serbia look like today?,” organized by Oblakoder magazine, brought together significant figures from the music industry to discuss the challenges and opportunities facing young artists in today’s digital age. The panel moderator, Marija Todorović from Oblakoder magazine, directed the conversation towards issues of digital promotion, the role of social networks, streaming platforms, and media in raising the visibility of young talents.

Branislav Cvetković from Balkanrock touched on the challenge of criticism in contemporary media space: “Our most unpopular section was ‘Instead of Praises,’ which provoked negative emotions,” highlighting how negative reactions to critical articles led to changes in practice, such as introducing author signatures below articles: “This brought a kind of legitimacy to criticism and opened the way for a more mature dialogue.”

Iva Pažin commented on the collaboration of performers with publishing houses, emphasizing how smaller, independent labels mainly serve as intermediaries for music distribution on streaming services rather than as true promoters. “They often work out of a passion for music, making them crucial in connecting artists with audiences, even though their capacities often do not allow for broader promotion.”

Matija Ilić from Ubili su batlera and Hali Gali highlighted the importance of personal initiative in promotion: “We mostly rely on Instagram. We try to make our recordings and promote our work ourselves. We don’t overthink it, maybe we’re not even trying hard enough.”

Foto: Belkisa Abdulović / CEBEF

Marko Radojković, from the Kišobran and Hali Gali collectives, shared his view on the role of publishing houses and promoters, stating that the bands he works with do not sign contracts. He emphasizes that the collaboration with artists is based on mutual trust and support, instead of formal agreements. He also shares his opinion on the importance of promoting young alternative performers and how promotion changes in the digital age. Commenting on the potential and limitations of existing promotional strategies, Marko highlights the need for innovative approaches in promoting young talents on the music scene.

This panel shed light on how digital media and social networks have become indispensable in the promotion of young artists, but also how there is a need for more support from traditional media. Although the digital age has brought new challenges, it also offers opportunities for those willing to explore and utilize all available resources for promoting their work. The conversation indicated that success requires a combination of personal initiative, support from publishing houses, and the ability to successfully navigate the digital landscape of today.