Hello! I’ve decided to start a blog.

I usually document and share my experiences, as a musical vagabond of sorts, on my instagram. But there is a word count limit, and an unspoken pressure to show shiny versions of a story. So this is where I’ll delve into the gritty details of my experience of music-making and the purpose of art in a fragmented, confusing world. And maybe it will be useful for other musos out there wandering similar roads, or maybe it’ll provide a deeper insight for those of you who love music.

Classical:NEXT is a big classical and art music conference that happens each year

My first Classical:NEXT was the 2024 edition in Berlin. I was selected to showcase (which means I get a 30 minute slot as part of the conference to wow audiences, and entice key industry figures to book me for their festivals and program my music for their concert series and events). It’s high pressure, a big investment (showcase performances are not usually paid), and a huge gamble (will anyone show up? Will I get anything from this?).

My approach with these sorts of events, whether or not I am a showcasing artist, is to be open-minded and have very low expectations. It’s like dating. I wouldn’t ask someone to marry me, move in together and get a joint bank account after one fleeting flirt. It’s a long game.

This year was my second time at Classical:NEXT, this time held in Budapest, Hungary on the eve of their big elections. Spoiler alert: the elections go well and the future of Hungary is bright and full of hope.

In another post I’ll go into more detail about what I learned, including the state of the classical and art music industry, the divides between small and large art music institutions, great solutions posed by great minds, and the music I heard by inventive artists. But for now, I want to tell you truths about what it’s like rocking up to one of these things. In case it might be useful.

So much talking, lots of listening, exhaustion and meaningful connections

The conference goes for four days. Day 1 is usually light on – a keynote address, a couple of panels, an opening night concert and a big expo hall full of organisations, export offices and ensembles advertising their services and artists. It’s overwhelming, especially when rocking up solo without any ideas about what the aims or goals are. This time round though, I had lower expectations and lots of curiosity. And lots more courage.

• Talking: I dive right in. I talk to anybody. When I grab lunch I go and introduce myself. You never know who you’ll meet. I do some research about who might be there (you get a delegate list prior for this purpose), and I research on the fly when I get talking.
• Listening: When I meet someone new, I ask them a bunch of questions that are broad, about life, and also about what they do and love. Just like a true friendship. Then I make notes at the end of the day about all the wonderful people I’ve met.
• Connections: Sometimes, there is a big Australian delegation. That means there are a bunch of other Australians at the conference. Sounds Australia do a brilliant job of bringing us all together, organising meet ups and drinks and dinners, getting us involved in panels and being a lovely, cosy home ground when the overwhelm gets too… overwhelming. But sometimes they’re not at these kinds of events. And then I have to fly solo. But in this case, I made new lifelong friends and felt incredibly supported.
• Exhaustion: I talked and listened and made connections for four days straight. From 11am until midnight. So I took little breaks to do a meditation several times throughout the day. Sometimes I’d go to a panel by myself just so I could sit still and in silence for a bit. But I’m here for the talk, so I do my best. But it is very tiring, and very full on.

Classical:NEXT knows Budapest

The team at Classical:NEXT spend a lot of time and energy working in collaboration with the host city (the host city can change with each iteration). They choose music venues and opening night programming carefully to curate a uniquely (in this case) Hungarian experience. Yes, it’s easy to get totally absorbed in the conference. But I like to zoom out and look at where we are, for context, for history, for the future. So I do a bit of research about other artists I might like to meet, other live music venues, and I walk around the city listening to local composers. I think this makes for a richer experience grounded in place, and then I feel less like a tourist, and more like a guest who might return to share music or collaborate with local musicians.

What about you?

I’m keen to know how everyone else survives or thrives at these sorts of events? Or maybe you have some more questions. Feel free to chime in. And next post, I’ll talk more about key takeaways.

Love xani xx

Creative Australia for supporting my attendance at both Classical:NEXT (Budapest) and Jazzahead (Bremen).