As one of Hellfest’s Artist Department Managers and Bookers, Christie Medina-Gonzalez knows what it takes for heavy artists to make an impact on an international stage. Visiting BIGSOUND as an industry guest, Christie is looking to discover Australia’s next wave of heavy talent while gaining insight into the challenges local artists face when taking their music overseas.
We caught up with Christie to discuss Australian heavy music, international festival opportunities and what she’ll be looking for when she hits the BIGSOUND showcases.
Futuremag: Hellfest has become one of the world’s most iconic heavy music festivals. What are you hoping to discover from Australia’s heavy music scene while you’re at BIGSOUND?
Christie: I’m very interested in discovering how the music industry works in Australia. I don’t have many connections from this side of the world so I have no clue about the difficulties the bands/managements/agents can face when it comes to exporting the music abroad. I believe that understanding the market will help both sides, local artists and foreign promoters, to work more efficiently together
Futuremag: Australian heavy bands have built an incredible international reputation over the years. What qualities do you think set them apart from artists coming out of other countries?
Christie: I can only imagine, but I think that, due to the geographic location, it’s more difficult for Australian bands to export themselves at the beginning of their career. What comes directly to my mind when it comes to Australian bands is the incredible energy, the will to play no matter what, and also a very high level of musical knowledge.
Futuremag: When you’re watching a showcase, what makes a band memorable enough that you’ll keep thinking about them long after the set is over?
Christie: When I’m watching a live show, I need to feel emotions which is only possible if I feel a certain consistency between the intention the band is putting in the show, the attitude on stage and of course the musicality binding it all together. All of that will make a memorable show for me (and it can happen with styles I’m not necessarily into).
Futuremag: Hellfest is known for balancing legendary acts with exciting new talent. How do you decide when an emerging artist is ready for a festival of that scale?
Christie: That’s a good question and there is no good way to address it as each booker has its own answer to it. For me, it’s all about feeling and sensitivity. If I can, I will go to a concert to see the band live, as it’s the best way for me to assess if he is ready to play on a big stage. The goal is not to put the band in a difficult position if he’s not ready, and I can only feel it during a live show. Alternatively, if I’m not able to see the band live, I try to catch videos on social media or on streaming platforms to figure out if I can get the kind of energy I’m looking for.
Futuremag: Australia has produced global heavyweights like Parkway Drive. Do you think there’s another wave of Australian heavy artists ready to make an international impact?
Christie: Of course, music is a series of new beginnings. Maybe very big bands such as Parkway Drive, AC/DC, Airbourne are kind of exceptions because they built an exceptional career, but there is a great talent pool in Australia that cannot be ignored, especially in the extreme genre. And in this underground scene, the size of the venue doesn’t necessarily define the “heavyweight” term, it’s also about the durability of the band. For example, Ne Obliviscaris has been on the market for more than 20 years and is still extensively touring internationally. This can also make them “heavyweights” in my opinion.
Futuremag: Beyond great music, what are some of the biggest mistakes you see emerging bands make when trying to approach international festivals?
Christie: I see two moves that I experience quite often and that can serve bands badly.
The first one is sending a group email to a bunch of promoters without personalising it. It looks very impersonal and gives the impression the band doesn’t necessarily want to play in this festival. Usually, these emails are also very long, and we can get lost with unnecessary and disorganised information. Take the time to write a short but impactful email with some links and tell us about your story and your motivation to play.
The second one is to send too many reminders. If you get a reply saying that your application has been taken into account, there is no need to send emails every week. The booking process can take time (especially with the headliners), and if you do not get news, it’s probably that your contact doesn’t have any update to give you. You likely want to show your motivation, but it can be seen as impatience or “pain in the neck” move, so be patient and you will be contacted again when it’s time.
Futuremag: Heavy music fans are incredibly passionate and loyal. What do you think the genre does better than almost any other when it comes to building community?
Christie: I agree that heavy music fans are passionate and loyal. They are really into the music and it’s more a way of living than only listening to a specific kind of music. We live music, eat music, sleep music. In the heavy music world, there is a sense of family that I cannot feel in any other genre. People are kind to each other, take care of one another and even if you’re a girl going to a festival alone, you will probably feel safe and find new friends very easily.
Futuremag: For Australian artists attending BIGSOUND who dream of playing European festivals, what practical advice would you give them before they start reaching out to international bookers?
Christie: Playing European festivals can be a milestone for many bands, but you should think wider and work on a business plan before reaching out to international bookers. It will not sound very attractive, but running a band is like running a company so you will have to elaborate on a strategy to attract the bookers and make them want to work with you. How long do you want to go on tour and in which timeline? Are you aware that visa / work permit to some countries can be very difficult to obtain? Is your timeline realistic towards the administrative paperwork that will be necessary to obtain before touring? Which countries do you want to reach? Do you have a set ready, a new album to show to the world? Are you going (and are you able) to hire a sound technician, light designer, tour manager, merch person or are you doing it all by yourself? Who in the band is in charge of what?
Futuremag: You’ve worked across booking, production and artist administration. How has seeing every side of the industry changed the way you evaluate new artists?
Christie: Sometimes it can be very frustrating because if I personally see the potential of a band, I’m not booking it for myself. I have to put myself in audience’s shoes and evaluate if it’s not too niche or, on the contrary, too mainstream for my stages. I am in charge of the most extreme stages of the festival, with a very specific audience. They want to see real shows, good musicians but with the raw underground energy. Once again, it’s a matter of feeling and seeing a band live is the best way to evaluate if it would fit or not.
Futuremag: Finally, if you could leave BIGSOUND having found one Australian act to champion internationally, what would that artist need to do to convince you they’re ready for the world stage?
Christie: According to my own sensitivity, they would need to mix good musicians with a special attitude, delivering specific energy and a consistent story (not necessarily with their lyrics but with the way they evolve on stage). I need to feel they will deliver the same level of show on every single day.