How to Apply To Play Music Festivals & Events Across the World

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How to Apply To Play Music Festivals & Events Across the World

I found this great article on Di++O website with links to current UK and overseas opportunities. It's really useful and very informative, as it is up to date and also has direct links to the festival or event where you can apply - so super helpful.

Remember, before you apply to perform at any of these music festivals and events, be sure to read the application instructions and conditions carefully for the best chance of success. Some events may only accept submissions from artists of certain styles and genres, so make sure your act fits the bill before submitting your application.

CURRENT UK & EUROPE OPPORTUNITIES

Are You Listening? Festival | April 2020 | Reading, UK | Apply here

Live at Leeds | May 2020 | Leeds, UK | Apply here

Hanwell Hootie | May 2020 | London, UK | Apply here

Mello Festival | May 2020 | Worcestershire, UK | Apply here

Elderflower Fields | May 2020 | East Sussex, UK | Apply here

The Great Escape | May 2020 | Brighton, UK |Apply here

Sound City | May 2020 | Liverpool, UK | Apply here

Leestock | May 2020 | Suffolk, UK | Apply here

Wychwood Festival | May 2020 | Cheltenham, UK | Apply here

Camden Rocks | May 2020 | London, UK | Apply here

Long Division Festival | June 2020 | Wakefield, UK | Apply here

Sweden Rock | June 2020 | Sölvesborg, Sweden | Apply here

Eden Festival | June 2020 | Dumfries, Scotland | Apply here

Isle of Wight Festival | June 2020 | Isle of Wight | Apply here

Beacon Festival | June 2020 | Oxford, UK | Apply here

Sea Sessions | June 2020 | Donegal, Ireland | Apply here

Leigh Folk Festival | June 2020 | Essex, UK | Apply here

Black Deer Festival | June 2020 | Kent, UK | Apply here

Kendal Calling | July 2020 | Kendal, UK | Apply here

Y Not? Festival | July 2020 | Derbyshire, UK | Apply here

Ampthill Festival | July 2020 | Bedfordshire, UK | Apply here

EskFest | July 2020 | Cumbria, UK | Apply here

Nibley | July 2020 | Cotswolds, UK | Apply here

Daxonbury Festival | July 2020 | North Bedfordshire, UK | Apply here

Techfest | July 2020 | Nottinghamshire, UK | Apply here

El Dorado | July 2020 | Herefordshire, UK | Apply here

Ipswich Music Day | July 2020 | Ipswich, UK | Apply here

Barn On The Farm | July 2020 | Gloucester, UK | Apply here

Brainchild Festival | July 2020 | East Sussex, UK | Apply here

Not a Cult Festival | July 2020 | Worcestershire, UK | Apply here

Nass Festival | July 2020 | Somerset, UK | Apply here

Beat-Herder | July 2020 | Lancashire, UK | Apply here

Ashford Festival in the Park | July 2020 | Kent, UK | Apply here

Shankra Festival | July 2020 | Lostallo, Switzerland | Apply here

Nozstock | July 2020 | Herefordshire, UK | Apply here

Boomtown | August 2020 | Hampshire, UK | Apply here

110 Above | August 2020 | Leicestershire, UK | Apply here

Off Festival | August 2020 | Katowice, Poland | Apply here

Humber Street Sesh | August 2020 | Hull, UK | Apply here

Beyond the Woods | August 2020 | Lincolnshire, UK | Apply here

Farmer Phil’s Music Festival | August 2020 | Shrewsbury, UK | Apply here

Arctangent | August 2020 | Bristol, UK | Apply here

Green Man | August 2020 | Brecon, UK | Apply here

Beautiful Days | August 2020 | Devon, UK | Apply here

Weyfest | August 2020 | Surrey, UK | Apply here

Victorious | August 2020 | Portsmouth, UK | Apply here

Valley Fest | August 2020 | Bristol, UK | Apply here

Phoenix Festival | August 2020 | Cotswolds, UK | Apply here

Cambridge Folk Festival | August 2020 | Cambridge, UK | Apply here

Off The Tracks Festival | August 2020 | Leicestershire, UK | Apply here

End of the Road | September 2020 | Dorset, UK | Apply here

Illusive Festival | September 2020 | Northamptonshire, UK | Apply here

Worcester Music Festival | September 2020 | Worcester, UK | Apply here

Euroblast | September 2020 | Cologne, Germany | Apply here

Live at Heart | September 2020 |Örebro, Sweden | Apply here

Reeperbahn Festival | September 2020 | Hamburg, Germany | Apply here

Equinox Festival | September 2020 | Lincolnshire, UK | Apply here

Waves Vienna | September 2020 | Vienna, Austria | Apply here

Moseley Folk Festival | September 2020 | Birmingham | Apply here

Mercat de Musica | September 2020 | Barcelona, Spain | Apply here

Iceland Airwaves | November 2020 | Reykjavik, Iceland | Apply here

CURRENT USA, CANADA & SOUTH AMERICA OPPORTUNITIES

Tiny Lights Festival | June 2020 | Ymir, Canada | Apply here

Blue Ox Festival | June 2020 | Eau Claire, Wisconsin | Apply here

NXNE | June 2020 | Toronto, Canada | Apply here

Nelsonville Festival | June 2020 | Nelsonville, Ohio | Apply here

Epicenter Festival | May 2020 | Charlotte, North Carolina | Apply here

Music at the View | May 2020 | Tonasket, Washington | Apply here

Texas Music Showcase | July 2020 | San Antonio, Texas | Apply here

Red, White & Bluegrass Festival | July 2020 | Beaver Creek, Ohio | Apply here

Hopscotch | September 2020 | Raleigh, North Carolina | Apply here

Arise Music Festival | August 2020 | Loveland, Colarado | Apply here

Springfield Indie Soul Fest | August 2020 | Springfield, Massachusetts | Apply here

Rock al Parque | August 2020 | Bogota, Colombia | Apply here

Americanafest | September 2020 | Nashville, Tennesee | Apply here

Deadwood Jam | September 2020 | Deadwood, South Dakota | Apply here

Strawberry Music Festival | Spring/Fall Annually | California | Apply here

Joshua Tree Music Festival | Spring/Fall Annually | Joshua Tree, California | Apply here

CURRENT AUSTRALIA, AFRICA & ASIA OPPORTUNITIES

Bali Spirit Festival | April 2020 | Bali, Indonesia | Apply here

Cape Town Coffee Festival | May 2020 | Cape Town, South Africa | Apply here

Bayimba International Festival | August 2020 | Uganda | Apply here

Winter Fest | August 2020 | Lesotho | Apply here

Music Matters | September 2020 | Singapore | Apply here

Maldon Folk Festival | October 2020 | Maldon, VIC, Australia | Apply here

Mushroom Valley | October 2020 | Yalboroo, QLD, Australia | Apply here

Tablelands Folk Festival | October 2020 | Yungaburra, QLD, Australia | Apply here

Queenscliff Music Festival | November 2020 | Queenscliff, Vic, Australia | Apply here

Thanks Di++O Team for such a great article, we have sent links to your website so that our members can find out more. https://www.dittomusic.com/

Our next blog will pinpoint what you need to consider once you have applied and been accepted to play. We are going to create a check-list that our members can actually use. Best of luck and let us know how you got on.

BACK

19
Jan

Artist Focus: Respite

This compelling five-piece formed from an amalgamation of previous bands, mindsets and connections and arose in 2020 as a formidable and commanding alt-rock/pop-punk force known newly as ‘Respite’. Respite joined forces with Jeeni earlier this year and since then, Jeeni has been hard at work trying to elevate, uplift and support this fantastic group by providing an ethical worldwide platform for their hard-hitting and refreshing craft. Respite is: Andrew Vaughan & Euan Macqueen as guitarists, Ross Crawford on the bass, Reiss Mcleod on the drums and Sam Nicholson on the vocals. Hailing from Glasgow, the group once known as ‘Finding Argyle’ committed to a brave yet necessary brand change as their sound and creative habits organically shifted and evolved over the major lockdown in 2020. The group formed as the five-piece they’re known as now back in 2015 as a result of recurring opportunities and coincidences and so, the band’s current synergy took shape as a perfect act of fate. Their days as ‘Finding Argyle’ were decidedly grittier with tracks like ‘Spit’ and ‘Love Like Violence’. Their newer form, ‘Respite’ made a subtle, yet noticeable adjustment in their tone. The lightheartedness was slightly increased as a result of the more melodic and pop-punk inspirations for writing choruses. Vocalist Sam Nicholson is the primary conveyor of their new-found catchiness, held mostly in the anthemic choruses that parade accross most of their spirited songs. The change in vocal style is at times, reminiscent of the much more pop influenced rock style of ‘Deaf Havana’. Although Respite generally embraces slightly less dark style of songwriting and performing, that doesn’t account for exceptions such as the deeply compelling and hard-hitting ‘Chemical Sleep’. The music video for which is simple, yet genius; contained in a cramped, red room, the group’s performance energy is barely contained and fills the space to the brim, matching the mood and vigor of the piece to a tee. Another noticeable and welcome advance in style came from the increased use of synthesis, thanks to guitarist, producer and mastering engineer, Andrew Vaughan. Sam Nicholson put it simply yet aptly that Vaughan is “quite the wunderkind”. On top of mixing and mastering the tracks, Andrew also manages all of the recordings for the group, effectively doing the work of about 6-10 people when compared to a standard studio set-up. Speaking of, the sound achieved from Respite really is that of a fully-fledged studio arrangement. Clear, concise and tight to a fault, the production and overall contribution from Vaughan is nothing other than remarkable. As a Glaswegian act, I was interested in the band’s opinion on how the impressive lineup of Scottish rock groups break the mould when compared to that of English or American rock efforts. After conferring with the other members, Sam told me that “I think there's something about the vocals which usually sets them apart, whether that is just the accent, or the way it hits the ear, it does stand out more often than not.” As obvious as it might sound that the iconic Scottish voice plays a major role in differentiating this specific Celtic brand of the same genre from others, it’s nevertheless a profound point that voices from different tribes will react with the ear in different ways. It implies a fascinating discussion about how different ethnicity's natural voices can induce different subconscious responses in listeners. Sam also voiced a tentative concern with lumping acts into the non-genre of Scottish rock and how it can at times be presumptuous, “I personally sometimes wonder if it's too easy to be lumped into "Scottish Rock" and then you're trapped there. It's a double-edged blade though, because, who wouldn't want their name next to bands like Biffy and Fatherson?” It certainly is an under-considered issue of generalising and connecting Scottish acts purely for being Scottish. It unintentionally strips individuality from these fantastic acts like Respite. Although, as Sam points out, it’s not exactly a bad thing to be mentioned among the greats of Scotland. A double-edged blade indeed. Careful not to mention something the group isn’t ready to divulge just yet, Sam did allude to the future of Respite, “We're currently planning our second EP after a great response to the new tracks, and we're hoping to follow that up with a tour of Scotland, and potentially head down south.” How can Jeeni support artists like Respite? JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience. • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make. • We empower our audience and reward them every step of the way. • We promise to treat our members ethically, fairly, honestly and with respect. • Access to artist liaison and a supportive marketing team. Check out Respite’s Jeeni showcase here: https://jeeni.com/showcase/respite-band/

04
Feb

Zeeteah Massiah - ‘Wat A Ting’, Single Review.

Zeeteah Massiah’s 'Wat A Ting’ is a brilliant, tongue-in-cheek poke at misinformation and its relentless spreading, all the while being a dancehall banger in its own right. As an ambassador of Jeeni, Zeeteah Massiah is certainly something of a Jeeni royal. She has been a big part of the origins and early stages of Jeeni and her support is invaluable. Zeeteah Massiah is a Number One Billboard Dance Chart star who specialises in Reggae, Jazz and house music and has worked with the likes of Tom Jones, Sting and Robbie Williams. Now, she makes incredible music with her husband, Paul. The clarity of the production in ‘Wat A Ting’ is perfect. The off-beat pulse is so neat and perfectly edited and that’s with so much else going on; broken glass, rapid reggae drumrolls and several layers of backing vocals all fly over each other but this track never sounds messy or unintentional. The attention to detail in the mix for this single is exhaustive and thorough. That approach to production results in all sonic layers staying in their corner, but interacting with each other in total coherence and clarity. Everything in ‘Wat A Ting’ is tight, staccato and playful in its nature. It sounds like Zeeteah and her husband, Paul had so much fun with every layer of this track. As a counter-point to the short, abrupt timbre of the rest of this song, the pre-chorus is cleverly, much smoother with the addition of sweeping backing vocals and strummed guitar parts. This soft, calmer section is a great spot for the deceptively, reassuring lyrics “No need to fear now, what’s going on here now.” before the accepting chorus, “We've all gone crazy.” Zeeteah’s voice is pitch perfect and so adaptable; her singing is soft and caring for the pre-choruses but aptly manic and wild for the ‘Wat a ting, wat a ting!” choruses. The care and precision she carries in her voice could only be that of a seasoned professional vocalist. Although the track is undeniably fun, it addresses an incredibly important issue, “They told me there was COVID in the 5G, they told me the earth was flat.” Underneath the lively, mischievous tone of the track, 'Wat A Ting’ is an exasperated resignation to the persistent spread and sharing of false information as a result of fear and ignorance, “It’s all very clear now, we’ve all gone crazy.” Check out this fun and important track here: https://jeeni.com/wat-a-ting-zeeteah-massiah/ And check out Zeeteah’s Jeeni showcase here: https://jeeni.com/showcase/zeeteah-massiah/ Album review How can Jeeni support artists like Zeeteah Massiah? JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience. • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make. • We empower our audience and reward them every step of the way. • We promise to treat our members ethically, fairly, honestly and with respect. • Access to artist liaison and a supportive marketing team.

12
Oct

Jeeni Monthy Round-Up, September

Welcome to our new monthly blog update where we will discuss the latest news on topics such as streaming, music, performing, tech and all the other industries Jeeni aims to support. Firstly, seeing as this is the beginning of the monthly round-ups we have broadened our news to cover the last few months. We wanted to begin by highlighting the long-awaited reopening of live music venues and the return of festivals to the UK! A Mast Journal on COVID-19 stated, “the COVID-19 outbreak has been framed primarily as an economic crisis, in which the music-based products and practices through which revenue is derived have been abruptly and, arguably, irreparably disrupted by a global public health emergency.” Many musicians struggled financially during this time, with many pleading to the public to help the industry. Thankfully by June 2021, the venues were able to reopen and festivals such as Reading, TRNSMT and Victorious were able to run once again. Members of Team Jeeni did an amazing job at Victorious, interviewing artists and showing our support to the industry and independent musicians. A BBC article stated “Artists cannot truly operate without their fandoms. Fans can still congregate online while we wait for their return.” While everything was shut down artists had to change the way they communicated with their fans and find ways to gather in virtual spaces. Jeeni believes that even now when venues are open, artists and creatives will use online spaces more and more. Jeeni is a great platform for them to do this as it is more ethical than most of the larger corporations and Jeeni artists keep 100% of everything they earn. The next topic we wanted to highlight was brought to our attention from an NME article: “Fewer than 800 UK musicians make a living solely from online streaming,” and also “A particular finding points to artists making a “sustainable living” from streaming alone, revealing that approximately 720 British artists are able to. Those 720 musicians fall into the 0.4 per cent category of those who are achieving more than one million UK streams.” It is clear it is already challenging for independent artists to make decent earnings from streaming but "Spotify’s New Marquee Promotion Feature Is Forcing Artists to Pay to Reach Fans They Already Have — As Much as $0.50 Per Click” says Digital Music News. The big players in streaming are continuing to rip off artists and their fans alike. The article goes on to state that “it would take artists anywhere from 100 to 167 streams (on Spotify) to break even on just one sponsored click. That means each person who clicks on a sponsored Marquee campaign would have to listen to a new album roughly 12 times for the artist to break even on that fan’s interest." Thirdly, Twitch and the music industry clashed back in 2020 over licensing streamed music. Now a deal has been struck, but streamers are unhappy. Many streamers on the platform were hoping for a change but the deal remained virtually the same. "Only listen to safe music." All Jeeni royalty-free songs on the site are safe to use while streaming. Fourthly, the New York Digital News site published a story surrounding TikTok and the platform’s new massive impact on music. Stating “TikTok is evolving into a very different kind of music streaming giant. TikTok creators who aren’t musical creators themselves are using music. Musicians get paid off the back of that, and it can become a healthy revenue stream. It helps break songs and artists, consumption goes up on the other platforms, more tickets are sold, a bigger live-streaming event can happen etc.” Lastly, only just falling into the monthly round-up we wanted to highlight the release of the latest James Bond film No Time To Die. “One of the most famous pieces of film music of all time, this has featured in every single Bond film in some form or another since it played over the opening credits of Dr No back in 1962 is the John Barry & Orchestra, Monty Norman – James Bond Theme (1962)” Each film has a title song dedicated to it including the new track by Billie Eilish- No Time To Die. But the all-time Jeeni favourite has to be Paul McCartney's "Live And Let Die", which was written on the Wings Bus that Jeeni helped to rescue, and which goes back on the road next year. Watch this space for exclusive info on that one!

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