Summary 👇 

• Editorial
• In depth with David Sierra, from Sierra Contratación Artística (Spain)
• Brief news from the media, charts and sister projects
  Transglobal World Music Chart & Hall of Fame, Mundofonías favorites of the month and the year, World Music Charts Europe best of 2024, LIMúR 4th quarter of 2024.
• A little bit of mine
• Open calls: SoAlive Music Conference, Circulart + Babel Music XP announced the artistic selection
• Meet me at ✈️ . Line up of Flanders Folk Music Awards and Belgian Worldwide Music Night, announced

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Hello, how are you?

The end of the year is here. I don’t know about you, but I can’t help but take a moment to reflect and analyze, thinking about what to change and what to continue just as it is.

In the photo for this edition, I’m accompanied by David Sierra, someone many of you who receive this newsletter already know. He’s my professional colleague, and we also share several circumstances that allow us to discuss topics that, while specific, also serve as a lens to examine the situation in other regions. They can help to check if these experiences resonate with our own and to deepen our understanding of the complexities of the sector we’re involved in: music that is in some way connected to the heritage of peoples.

Below, I’m sharing a recent conversation we had in Toledo, on a cold and sunny midday, in that beautiful and profound place—a key site in the history of Western culture. It’s a pleasure to feature David as the protagonist of this final edition of the year.

It’s also time to take stock of the charts. I’ve had some wonderful surprises, such as We, Vigüela’s tenth album, making it onto Mondo Sonoro’s list of the best flamenco and roots music albums. It made me really happy because it’s a long-standing magazine and a generalist one, not specialized, so it was a very pleasant surprise.

And there are still a few days left until the end of the year. Let’s see what they bring. In any case, I wish you a 2025 full of fulfillment and joy.

Remember: if you have any news of interest for our community, let me know. Thank you very much for your attention. Araceli Tzigane | Mapamundi Música | +34 676 30 28 82

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AND NOW THE FLOOR IS FOR:

DAVID SIERRA, FROM SIERRA CONTRATACIÓN ARTÍSTICA

I don’t remember exactly when I first met David Sierra. I believe we’ve gotten to know each other gradually over the years. He is the heart of Sierra Contratación Artística, working, for instance, with Ana Alcaide for many years, as well as handling worldwide booking for the Italian band Kalàscima. You can check out all his artists on his website. Additionally, he manages bookings in Spain for several artists, with Maria Mazzotta being the most renowned among them.

David is originally from Castilla-La Mancha and currently lives in Toledo, the city where Mapamundi Música is legally and fiscally based. For both of us, our regional administration is Castilla-La Mancha. This is no small matter. In Spain, the complexity of territorial division makes this a very significant issue. Recently, during a conversation within the European Folk Network, I reflected on the differential access to resources for internationalization, both between European countries and within Spanish regions. In Castilla-La Mancha, we lack an entity dedicated to the internationalization of the arts in general or music in particular. This is not the case in Galicia, with Agadic, or in the Basque Country, with Musika Bulegoa, or in Catalonia, with Catalan Arts. Why this happens would require a separate discussion, and surely some of the dynamics leading to this escape me—though I can imagine a few. In any case, this is the reality we face.Castilla-La Mancha is one of Spain’s most rural regions, characterized by low population density and small municipalities. Its economy relies heavily on agriculture, particularly vineyards, olive groves, and cereals, with less industrial and technological development compared to urbanized regions. Despite this, the region boasts a rich cultural and historical heritage, including Toledo and Cuenca, and is known for its rural tourism and traditional industries like wine and cheese production. And, of course, it is the land of the universal Don Quixote from La Mancha.

It would be a bit cliché to compare David and me to Don Quixote. Mainly because none of us has a Sancho Panza to support us! 😅 But we do have muses. Just as Don Quixote had Dulcinea, we have our beloved artists.Without further ado, I share with you the very interesting conversation with David.

 

AT: Belmonte is a small but very historic place, isn’t it? It has a castle.

DS: Yes, historically, Belmonte is a significant landmark in Castilla-La Mancha. It was part of the Marquisate of Villena, stretching from Villena in Alicante to Alarcón in Cuenca, among other territories. This area was closely tied to the 15th century. We have several notable monuments from that period. There’s the palace of Infante Don Juan Manuel, a key historical figure in Belmonte, dating to the early 14th century. The castle, built in 1456, is iconic. It’s been featured in classic films, from El Cid with Charlton Heston and Sofia Loren to various commercials. Its construction is unique—unlike traditional castles with rectangular courtyards, it has an equilateral triangular layout. The base is the keep, which is also distinctive. The surrounding walls form a six-pointed star, with defensive towers at each point. It’s very original, like the circular Bellver Castle in Mallorca.

Belmonte was also the birthplace of Fray Luis de León, one of the greatest mystic poet or the Renaissance.

The main source of income in Belmonte today is tourism. It’s a village with around 1,800 or 1,900 residents and offers everything from a four-star hotel with a spa to a range of gastronomy and accommodation options. You should definitely visit Belmonte.

AT: Well, we’re in Toledo, which was also home to the School of Translators, a place that helped much of classical knowledge reach us today. This land is incredibly cultural, although you and I face many challenges. I’d like to discuss, at some point, how the market is skewed due to certain economic-political situations in some regions. But before that, I want to ask you something else. You’ve been working in the folk and related music scene for over 15 years. How have you seen its evolution? You mentioned earlier that when you started, there were many Celtic festivals, but they’re no longer around. What happened? Have festivals changed, or has the audience stopped attending?

DS: I’m not sure if it’s a matter of trends—certain musical styles or movements appear and disappear. I started with Celtic music, but many folk festivals have since disappeared, partly due to reduced financial support from politicians who redirect funds to other interests. But going back to what I said earlier, there were times when, for example, New Age music flourished, with many festivals dedicated to it. The same happened with mestizo music in Spain. For example, at Viñarock in Villarrobledo, one of the top Spanish Rock Festival, happening in Castilla-La Mancha, there was a parallel stage exclusively for mestizo music. You could find Chambao, Macaco, Huecco, Ojos de Brujo, and similar groups—more fusion-oriented music. That demand has vanished.

Celtic music is still around, and it has an audience, but it might not generate the ticket sales of a rock or indie music act. I don’t think there’s less interest because those who love this music will attend and buy tickets. But administrations and private promoters are part of the mainstream and focus on what generates better numbers. That’s why certain genres, smaller in audience size but loyal in following, don’t receive the same support.

For instance, the Ortigueira Celtic Music Festival still exists and is massive, attracting a large crowd not only for the music but for everything surrounding the festival. It also benefits from public funding. This ties into how certain regions prioritize and protect their heritage and traditions. Galicia, for example, is deeply connected to these kinds of music and is one of the regions that most actively supports them economically and politically.

AT: Yes, in Spain, we face an added complication when you try to understand how everything works here due to regions with their own languages, which often become political tools. On the one hand, this can result in population manipulation, but on the other, it means extra care is given to preserving their music.

DS: Totally.

AT: An example, though not entirely comparable because its language is more widespread, is Jaén. A few years ago, that province began presenting “Jaén en Julio” in Madrid. It’s a program featuring five very diverse festivals held in Jaén. It’s like Jaén has embraced music as one of its core values—music and olive oil.

DS: Let me add something here. In my opinion, Jaén isn’t the most touristy province in Andalusia. So, they must find ways to highlight what they do have. Olive oil, of course, brings in significant revenue. But they’ve also identified festivals like Etnosur as attractions that draw large crowds, boosting tourism in the province. Unlike Almería or Granada’s tropical coast, Jaén lacks beaches. And Cádiz and Huelva have their coastal areas too. So, Jaén focuses on what it can offer. I think that’s fantastic because the music industry generates opportunities for other sectors. Hospitality, catering, technical services—they all benefit. A music festival in Jaén, for instance, likely provides significant income for many local people during those days.

AT: A few years ago, I spoke with Pedro Melguizo, who ran Etnosur. They conducted a study and found that one-third of the annual revenue for many shops in Alcalá la Real, the festival’s location, came during Etnosur.

DS: That’s a fascinating statistic.

AT: There should be more studies on the origins and impacts of festivals. It would be really interesting. You and I see the reason for certain things. We’re both in Castilla-La Mancha—a region with such cultural richness, yet challenges remain. I’m an adopted member of this region, and my company is based here. It feels like we’re still missing a step toward international recognition of intangible cultural assets. This region exports millions of bottles of wine and cheese to China, for example, but its non-material cultural exports…

DS: That’s definitely an area for improvement. Speaking of music, this region doesn’t receive the same political and economic support as others. You and I know this all too well. In performing arts, there’s more unity, but not so much in music. Castilla-La Mancha is vast, with five provinces, each with its traditional music and groups representing their local styles. There’s an incredible variety of musicians and artists here, not just in traditional music but across genres. Yet the administration doesn’t prioritize it.

We should demand political responsibility and insist that our industry be treated like others. Castilla-La Mancha consistently wins the best stand award at Fitur, thanks to its geographic position and proximity to Madrid. It’s in the centre of the peninsula, making it a natural hub for international travel. While tourism is a focus, beyond monumental cities like Toledo and Cuenca, there’s more to showcase. Beyond crafts, which are somewhat “favored” by the regional administration, we need to highlight performing arts and music.

AT: You mentioned, “being treated like other industries,” and it got me thinking about an area where I wouldn’t want us to be treated the same. When I apply for internationalization grants, for example, I compete with large industries like Joma, the sports footwear and clothing manufacturer, under the same conditions. My company has been internationalized for several years, but I compete against those producing wine and consumer goods, not just cultural services. There doesn’t seem to be a cultural policy that provides differentiated support. We’re competing for resources in the same way as any other industry, even though we bring unique societal values. Sports shoes, as great as Joma’s might be, can be made anywhere. What we export is unique and unparalleled globally. Also, most of our companies are micro-enterprises or individual freelancers. I’d like to see us treated differently in this regard.

DS: Absolutely, we should be treated differently because the goals, starting points, and organizational structures are entirely different. Joma is a large company with many employees, logistics, and structures we simply don’t have. Most importantly, what we offer are small gems. A sports shoe can be made in various ways, but what you, for instance, offer—something very original and pure, like Vigüela—is deeply specific, authentic, and unique to a province, region, or even a particular community.

This is exactly what I mean when I say we need support. If we don’t protect it, it will disappear. This intangible heritage of jotas, seguidillas, rhythms, and so forth—this needs ongoing support.

AT: Yes, it’s truly a loss of cultural richness, and it will vanish. I don’t believe there will be continuity after Vigüela.

DS: Neither do I. There may be reinterpretations or new approaches, but not the preservation of tradition in the way Vigüela maintains it.

AT: Let’s move from the abstract and macroscopic to something more specific. You’ve been working independently for quite a while now, having left the company you worked for. You decide which artists to work with. How do you choose them?

DS: There have been various circumstances. Sometimes, it’s been very casual and magical—like being at a festival in Denmark with another group and hearing something in the background. I’d think, “That sounds like a tarantella. It reminds me of my time in Italy.” I’d walk over, discover a group doing traditional Salento music with modern rhythms, see their live performance, and immediately know, “I want this for my country.” I’m talking about Kalàscima, a band I’ve been working with since that day in July 2014.

First and foremost, it’s about seeing a live performance. If I see a group live and they surprise me, I want them immediately. That’s invaluable to me.

Then there are moments when a piece of music hooks you unexpectedly—a song or proposal grabs your attention, and you dive deeper, researching who manages them, what they’re doing, and so on. It’s about falling in love with the music.

As a second point, there must be a personal connection beyond the professional one. I can’t work with or represent a group unless there’s a compatibility of personalities and shared goals. Ultimately, we work with people, and those values matter.

 

Kalàscima is one of the artists with which David Sierra works for the bookings worldwide. I invite you to enjoy this live recording if you don’t know them yet:

AT: I agree. For me, it’s crucial to align on how we approach the work. I want to dedicate myself fully, but I need the artist to match that commitment. Sometimes, I’ve felt my dedication to them is strong, their dedication to themselves is strong, but their dedication to me is lacking.

DS: Exactly. That’s something we all face at some point. Like in personal relationships, we sometimes make mistakes professionally. You might think, “This project has potential; I can take it far.” But then the artist places limits that don’t align with your goals. For example, you plan an international strategy involving festivals, but the artist, for personal or ecological reasons, doesn’t want to fly. That can significantly constrain your plans.

AT: Yes, and sometimes they don’t realize the urgency of responding quickly to your needs. Our minds are constantly occupied with these matters. Sometimes inspiration strikes, and you have a great idea. You want feedback immediately but can’t wait a day. There’s an element of creativity and artistry on our side that I think isn’t always understood. We need that spark of inspiration and for the artist to join us in capturing it. Do you feel that way?

DS: Absolutely, especially regarding immediacy. There are deadlines, whether for submitting a grant proposal or being considered for a festival. You need materials—photos, recordings, and so on—but the artist might not have high-quality content ready. It’s frustrating to realize you can’t move forward because of that.

AT: Yes, or having to cobble something together, like recording a rehearsal just to have something.

DS: Exactly, makeshift solutions.

AT: What do you think are the most common mistakes artists make? You must get approached by artists daily, asking for your support. What recurring issues do you see, or how should they approach you differently?

DS: Linking this to what I mentioned earlier—materials. When someone wants to present an artistic proposal, they must realize you need solid materials upfront. High-quality audiovisual content is essential, not just a studio recording, which is relatively easy to arrange. But, for example, a multi-camera recording of a live performance, a well-prepared artistic dossier with press references, high-quality photos, a technical rider, and a hospitality rider—these basics are often missing.

This lack often stems from not understanding the industry. Artists know how to execute their projects and are likely the best at doing so because it’s their creation. But everything beyond the stage, outside the artist’s creative realm, often falls short.
So, the first major issue is the lack of quality materials. The second is a lack of understanding of the industry itself. We, as professionals, deal with administrations and festivals daily. We know how challenging it is to secure a spot in a festival lineup. But artists sometimes have an ego (in a positive sense) that leads them to believe their project is a perfect fit for a festival. They may not realize that 100 other projects are vying for the same spot.

So, I think there’s a lack of understanding of how a festival or a programming process works. There’s a team behind it that has to put together a cohesive lineup, sometimes with a specific theme. Your project might not fit this year or even next. This can lead to frustration, with artists thinking, “We’ve been trying to get into this festival for seven years, but I do flamenco, for example, and I’m still not there.” But it’s all very relative.

AT: Exactly. I’ve had moments where I don’t know how to handle it. I try to be didactic when approached by artists. Sometimes, they even call me directly. I pick up the phone, not knowing who it is, and it’s an artist asking for attention. It feels like they don’t put themselves in our shoes—they don’t realize that when they approach us, they’re asking us to dedicate our resources…

DS: …for free…

AT: …and our time, with no immediate return, only the potential of maybe recovering something down the line.

DS: Exactly. In our line of work, we often start earning zero. Many times, we’re the ones financing artists’ careers. We’re the ones investing in creating quality materials, drafting strong press kits, and contacting media outlets. We only start to recover some of that investment once we book a concert for the artist, whether at a theatre, festival, or elsewhere. Even then, it’s based on a pre-agreed commission percentage. You’d need to secure a significant number of bookings to recoup your investment. Often, artists—though not all—want to get everything while contributing very little financially.

AT: Or nothing at all. Many times, they want to contribute nothing. I think it’s crucial for artists to read and understand this because I often feel like they believe I have a magic wand. They think I can just wave it and say, “Ah, yes, I like you; I’ll place you here, here, and here.” That’s not how it works. They need to realize what they’re asking of us. If an artist comes to me with only five subscribers on their YouTube channel after two years, they can’t ask for anything. How dare you even contact me, especially if I don’t know you, and demand my attention?

DS: And I’m sure you’ve experienced cases where they see your artist roster and say, “Well, I’m in line with what you do.” And you think, “No, you’re not in line.” Musically, they might do something similar. But if your roster includes internationally established artists with professional trajectories, and then someone with five YouTube subscribers or 1,000 views in two years approaches you, that’s not the profile you’re looking for. Moreover, it could harm your work with the other, more professional artists you work with.

AT: It’s harmful in terms of opportunity cost. If I dedicate time to one artist, it’s time I’m taking away from others. Their request needs to be highly justified, and they must prove to me that they’re investing in themselves, in me, and in the journey we’ll do together. One of the main issues is that they ask me to do what they’re not willing to do for themselves.
Another question. What would you ask of the Three Kings as we approach Christmas, specifically in relation to your work?

DS: That self-employment fees are reduced, that the taxes we pay translate into better living standards, services, and healthcare—beyond just my work. Professionally, I’d ask for the dismantling of lobbies around certain festivals and power structures within the music industry. Let large music corporations stick to their domain and stop meddling in what we do, which is much more artisanal.
Most importantly, I’d ask for recognition of what we do—supporting very specific, challenging projects that are difficult to promote, export, and find a place for. At the very least, our work deserves to be valued.

AT: What advice would you give to someone starting in your line of work?

DS: Above all, have patience. This is a long-term career. From my perspective, after 15 years, I can say that success doesn’t happen overnight. It requires investing countless hours daily. Everything comes in time, but you need to work consistently, believe in what you’re doing, and present yourself authentically and naturally. Defend the project you’re working on with passion and determination.
Also, be open to advice from those around you who can guide and support you. Find allies along the way. In this profession, it’s much easier to work with partners or friends who can exchange not just work but also conversations and knowledge. That’s important.

AT: Perfect. We’ve covered advice for musicians, professionals like us, and even politicians. We have something for anyone! But I have two more questions before we wrap up. How would you define the type of music you work with, especially in relation to this next question: why do you think it deserves a place?

DS: Most of the music I work with stems from roots and tradition. I believe it deserves a place because it’s part of our cultural DNA and identity as members of a community. This connection ties closely to where you’re from. The majority of the artists I work with engage with the music of their birthplaces, where they grew up, and where they live.

To me, this intangible heritage—from pizzicas to field recordings and reinterpretations—is crucial. The starting point for most of the artists I collaborate with is traditional music. Many of them draw inspiration from these traditions and integrate elements from other genres, like electronic music or visual and performance arts. But there’s always a foundation in roots music.

It’s essential to value this music because it reflects where we come from and where we’re going. We can’t disconnect from the land.

AT: Anything else you’d like to add?

DS: Just to thank the newsletter readers, you, dear Araceli, and to acknowledge that we’re brave for doing what we do.

Sierra Contratación Artística works with La Jose. She participated in the last edition of La Voz (The Voice) and I really liked this performance of her. So, check it and, if you want to book her, contact David Sierra!!!

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BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS 

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🔸#1 for Transglobal World Music Chart in December of 2024 is: Sweet Release, by Justin Adams & Mauro Durante (Ponderosa Music)

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🔸Mundofonías: the three favourite of the months are Andrés Belmonte’s Gharbí (Segell Microscopi), Alicia Svigals’ Fidl afire (Borscht Beat) and Super disco pirata: De Tepito para el mundo, 1965-1980 [V.A.] (Analog Africa)

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🔸Mundofonías: Favis of the year 2024. In random order:

Polyphème / Wassim Halal & Gamelan Puspawarna – Le Rêve de Polyphème – Pagans

El Khat – Mute – Glitterbeat

Jyotsna Srikanth – Carnatic Nomad – Naxos World

Andrés Belmonte – Gharbí – Segell Microscopi

Bhutan Balladeers – Your Face Is Like the Moon, Your Eyes Are Stars – Glitterbeat

Vigüela – We – Mapamundi Música

V.A.· Super Disco Pirata: De Tepito para el Mundo 1965-1980 · Analog Africa

Lemon Bucket Orkestra – Cuckoo – Lemon Bucket Orkestra

Ruşan Filiztek – Exils – Accords Croisés

Bassekou Kouyate & Amy Sacko – Djudjon, L’Oiseau de Garana – One World

Ali Doğan Gönültaş · Keyeyî · Mapamundi Música

Quintet Bumbac – Héritages – Collectif Çok Malko

Petroloukas Halkias & Vasilis Kostas – The Soul of Epirus Vol. II – Artway / Technotropon

Tarek Abdallah & Adel Shams El Din – Ousoul – Buda Musique

Alicia Svigals – Fidl Afire – Borscht Beat

Le Bour-Bodros – Daou Ribl – Paker Prod

Hulbækmo & Jacobsen familieorkester – Rundsnurrknurr – Heilo

V.A. – Merengue típico, nueva generación! – Les Disques Bongo Joe

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🔸World Music Charts Europe, chart of 2024

Their number 1 of the year is Aziza Brahim with the álbum Mawja (Glitterbeat). Click the line above to check all the chart. My Ali Doğan Gönültaş‘s second album, Keyeyî, is on the position #23 of the year. Yeah! And Vigüela‘s We is on the #35. 

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🔸LIMúR (Iberian Roots Music Chart), last quarter of 2024

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🔸Transglobal World Music Hall of Fame 2024

 

 

 

 

 

 

 

 

 

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A LITTLE BIT OF MINE

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Do you have a call of interest for our community that you want to share? Let me know asap

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OPEN CALLS 

This section is open for news. It is free of charge. You can let me know if you have any open call of relevance to the community.

NEW CALLS IN THE NEWSLETTER:

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🔸SoAlive Music Conference.

For artists of any genre, from the Balkans (Albania, Bulgaria, Slovenia, Serbia, Kosovo, Greece, Bosnia and Herzegovina, Montenegro, Romania, North Macedonia, Turkey, Croatia).

It will take place in Sofia, Bulgaria, 14-17 October 2025. The call for artists is open until 15th of February. What do they offer: “As part of SoAlive 2025, you will perform in front of an audience that includes over 800 delegates from the music industry.” They won’t pay any fee. They cover fixed travel reimbursement (specific details provided upon selection), catering during the event, Pro + accreditations for all band members and accommodation for the duration of the festival.

How to apply? Please, check their website after Christmas time for the procedure.

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🔸Circulart
The call is open for artists/bands, agencies and labels, Colombian or settled in Colombia or from the “Iberoamerican common cultural space”. Until 28th of January. All the details are on the website (Spanish).

In 2025 it will have its 16th edition. The event will take place from 12th to 14th of June in Medellin, Colombia. It includes showcases and a digital networking platform.

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THESE CALLS WERE IN THE NEWSLETTER IN THE PREVIOUS EDITION:

🔹Babel Music XP

They have announced the artistic selection for 2025 and you can check it here.

Babel Music XP, which will take place from 20 to 22 March 2025 in Marseille has open the accreditations (the early rate is right now in 132,60 euros) and the booking of stands (early rate, price from €550 excl. TVA).

🔸Who is it for? 
“Music, performing or street art, folk culture and association-related proposals that are based on traditional roots as a driver of creativity and speak to us in the present.”
Note also that:

“The programme of Fira Mediterrània is divided into three main itineraries:

• Music, featuring the world music and traditional roots music scenes.
• Dance, with a dynamic perspective on traditional roots and folk culture.
• Memory, llegacy and oral storytelling, with performance and outdoor arts offerings, particularly theatre and circus, which draw on folk culture.”

🔸How to apply? 
The application is free and you can do it through the website. Deadline: Thursday 23 January 2025 at 12.00 a.m. CET.

🔸To learn more:
“Fira, as a performing arts fair attended by sector professionals (1,140 registered delegates), will agree a financial contribution with companies and groups.” Check all the conditions, on the official website.

🔸Who is it for? 
Participating artists must have their residence in Europe.
They must engage with folk music in the broadest sense in their musical performances – everything from traditional to crossover is welcome.
In case of a nomination for the Eversteiner award, FolkHerbst participants need to keep the award – ceremony date available (31.01.26).
🔸How to apply? 
Applications must be submitted informally by email to kultur@malzhaus.de by January 15, 2025. Send 3 music pieces (preferably videos in good quality, preferably live), along with a press text and a press photo.
🔸To learn more:
The official document I have received from Christian Dressel is this one.

 

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MEET ME AT

• 27-29 of January, Brussels. Flanders Folk Music Awards (the performances will be by Snaarmaarwaar, BLIET, and Bamako Express) and Belgian Worldwide Music Night (with performances by Gaïsha, NENA, Soledad Kalza & Sina Kienou, and Peixe e Limão).
• 20-22 of March, Marseille. Babel Music XP.

This flyer is from the event of the Belgian World Music Night on Facebook.