This approach strengthens the overall experience and empowers attendees to explore the event and the different musical territories in a way that feels purposeful rather than fragmented.
“At our indoor events, we often make a strong distinc- tion per area, and in this way, we can offer a diverse range of styles, but within the specific area, there is often a strong focus on the cohesion of the artists who are in the same area. This does not alter the fact that visitors can, of course, change and walk back and forth between different areas. Whenever we do an outdoor or indoor event that explicitly only has one area, we generally choose to go for a specific sound and not to program different styles directly together. If we have one area, and also one corner we are more likely to opt for a lineup in which the composition consists of DJs who are more out of the box, and postmodern “, and then discuss with artists and agents whether this idea behind “broader” rotating acts resonates with their thoughts on this.”
In terms of energy and event dynamics, Tom’s musical philosophy shines through. His rejection of a strictly linear energy progression for events is key to unders- tanding Paradigm’s distinctive atmosphere. Instead of crafting an event that builds toward a single climax, he encourages a more organic energy flow that res- pects the ebb and flow of the crowd’s experience. The event’s energy can peak at various points, allowing for moments of reflection and space, which ultimately en- hances the longevity of the experience. His comments about festivals versus intimate club nights highlight the complexity of programming for different settings. At festivals, where there are multiple areas and diverse offerings, he embraces variety while seeking out un- derlying connections to create an immersive experien- ce. In contrast, intimate events require more control over the experience, with a focus on coherence and a well-structured progression.
“In my opinion, a good event of ours does not have an explicit highlight in energy. The last act will not play softer/slower/more subdued than the opening act, but it is certainly not the case that it is a linear line upwards. The vibe must provide space at the beginning of an event to allow people to get grounded and at the end of an event to allow everyone to leave with a satisfied feeling. But the peak of energy can take place in all kinds of moments and ways in between. Our sound systems and our creative choices in both the visual and creative/art fields partly determine the experience of energy.”
Ultimately, Tom’s approach is centered on creating spaces where quality and innovation coexist, whether in the vastness of a festival or the intimacy of a club, always with a commitment to the underlying values of Paradigm.
“The biggest difference between a festival and a club evening of (intimate) programming lies in: on the one hand, opting for a broad offering and on the other hand, for a focused offering. Both have their charms, personally, I always enjoy trying to look for underlying similarities between different areas at our festivals.”
“On the other hand, an evening with one warm-up act and then a six-hour second act, for example, can also be a challenge. A big factor is that the more diversity there is in the artist’s proposal, the more different experiences are possible between people about the same event. That’s why I think it is true that when we do an intimate event, we have a better idea in advance of how we can bring people along. People have less freedom to choose, and therefore more of the same experience.”
By emphasizing that the production quality and the talent of the DJs are never in question, he reassures both artists and attendees that there is a solid foundation upon which to build the event experien- ce. However, he also acknowledges that while the internal standards may
experience of the attendees may differ. This openness highlights the unpredictable and dynamic nature of live events, where, despite careful planning, the crowd’s perception and interaction with the environment can vary. Tom’s recognition that Paradigm’s unique setting—whether it’s a one-of-a-kind festival site or a distinct warehouse—provides the creative freedom to make bold, innovative choices is an important aspect of how he approaches event programming. This flexibility allows them to push boundaries and take risks in ways that might not be possible in more conventional venues, where logistical constraints and typical expectations may limit creative exploration.
STRUGGLES AND PERSONAL INSIGHTS
Based in Enschede, Netherlands, Bas Amro is the curator behind Onder De Radar Festival. Known for his strong personal vision and deep connection to the artists he books, Bas approaches programming with a focus on curating an authentic and coherent lineup that speaks to both his musical tastes and the broader needs of the local scene. He strives to blend well-es- tablished headliners with fresh, emerging talent and often prioritizes artists who are important but not necessarily commercially mainstream, aiming to bring new and vital sounds to the community.
The life of a programmer is full of challenges, from long hours to balancing financial pressures with creative vision. As Bas described it,
“It’s getting harder and harder to stay creative each year... but I start with my ideal lineup. This way, I feel like I’ve built an ideal lineup with headliners that’s sustaina- ble for our region.”
Bas’s work is characterized by his commitment to the artistic integrity of the festival while maintaining a balance with the logistical and financial realities that come with organizing an event on this scale. He values creating a festival experience that is rooted in his personal preferences and vision, which allows the event to stand out in a scene that often prioritizes industry norms and trends.
This is generally a mixture of four things. Firstly, I like to have a good few artists that I personally really love and build from there. Of course, I only book artists that I like in some way, but here I’m talking about artists that I’m personally a big fan of. I need to have that as a foundation to get a nice energetic start of the process for myself and make sure the project remains close to me, as I of course do my best to keep things coherent - meaning the rest of the line-up has to be able to con- nect in a way with my personal preference. Secondly, I add artists that I feel need to be heard by our audien- ce. By that I mean artists that are adding something new to our scene, perhaps or perhaps not well-known, but refreshing and in my opinion important to feature. Thirdly, I can’t deny that we need headliners when wor- king on this scale. But with the ideal line-up concept I have built so far, I am forced to stick to headliners that match the first two steps. So those headliners have to match what I believe to be important artists and in some way, connect to artists I love. Lastly, I try to get a sense of which local (east-NL) artists are really promi- sing, and I see where I can add them. This way, I feel like I built an ideal line-up with headliners that’s sustaina
mixmagde.com 39 remain consistent, the
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