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the movers and shakers<br />

01 02<br />

Behind<br />

the<br />

Bands<br />

— In an industry better<br />

known for its oversized<br />

egos and ruthless<br />

corporate executives,<br />

the actual players on the<br />

fi eld – the promoters,<br />

booking agents, press<br />

offi cers, music critics,<br />

radio DJ’s and managers -<br />

are often overlooked, and<br />

underappreciated. We<br />

thought it w<strong>as</strong> about time<br />

to rectify the balance so<br />

started digging deep to<br />

bring you the country’s<br />

music industry’s puppet<br />

m<strong>as</strong>ters.<br />

Writer Nick Amies<br />

Photography Erwin Borms<br />

34 — THE THIRD WORD<br />

For many outside of Belgium, the revelation<br />

that this small European kingdom of 10.5<br />

million people h<strong>as</strong> anything resembling a<br />

music industry may come <strong>as</strong> something of a<br />

surprise. <strong>The</strong> discovery that it is actually a<br />

fountain of creativity and talent will probably<br />

add shock to that. Incomprehensible <strong>as</strong><br />

it may seem, even a large section of Belgian<br />

society is unaware of the burgeoning musical<br />

movement its little nation plays unwitting<br />

host to. All of which makes the movers, shakers,<br />

Svengalis and kingmakers behind the<br />

scenes an even more shadowy group.<br />

<strong>The</strong>se are the people who push the buttons<br />

and pull the strings; who cadge, cajole<br />

and convince the other players in the game<br />

to give their band a chance or to put a name<br />

out into the Belgian ether. <strong>The</strong>y are the hidden<br />

faces of the scene, toiling behind the<br />

stardom not only against international indifference<br />

but often opposition from within<br />

their own borders. <strong>The</strong>y share a common<br />

goal and yet competition between them is<br />

sometimes fi erce.<br />

As befi tting a covert centre of operations,<br />

the offi ces of 62TV Records is an un<strong>as</strong>suming<br />

terraced house in a quiet back street of Brussels’<br />

commune of Anderlecht. Without being<br />

privy to its existence, one would walk p<strong>as</strong>t in<br />

ignorance, blissfully unaware that the rise of<br />

Belgian legends dEUS and current pulse raisers<br />

Girls in Hawaii w<strong>as</strong> m<strong>as</strong>terminded behind<br />

its shabby façade. Inside, 62TV shares<br />

space and staff with distributing and producing<br />

powerhouse Bang!, forging a partnership<br />

which h<strong>as</strong> gone on to become one of the most<br />

infl uential in Belgian music.<br />

Wherever you go and whoever you speak<br />

to in the Belgian music industry, the name of<br />

Pierre van Braekel's<br />

Top 5<br />

dEUS. Worst C<strong>as</strong>e Scenario<br />

Arno. Charlatan<br />

Millionaire. Outside the Simian Flock<br />

Les Snuls. Bien Entendu<br />

De Portables. Girls Beware<br />

Pierre Van Braekel will eventually crop up.<br />

<strong>The</strong> boss of 62TV and founder of the Nada<br />

booking agency h<strong>as</strong> been a major industry<br />

player for the p<strong>as</strong>t eleven years. Alongside<br />

co-founder Philippe Decoster, van Braekel<br />

h<strong>as</strong> been instrumental in sculpting the Belgian<br />

rock musical landscape. “Philippe and<br />

I started off booking bands in Belgium but<br />

soon found that when these bands got big,<br />

they went off and started working with<br />

larger companies,” he says. “It didn’t take us<br />

long to realise that something w<strong>as</strong> wrong so<br />

we started up a management and recording<br />

business and joined with Bang to create a<br />

complete record company.”<br />

" <strong>The</strong> whole galaxy of Bang!<br />

h<strong>as</strong> defi nitely grown<br />

to play a huge role in the<br />

Belgian music industry "<br />

Thierry Coljon<br />

Van Braekel, a former musician and communications<br />

graduate, delved into his p<strong>as</strong>t<br />

and dug up a few names which he hoped<br />

would help get his fl edgling empire off the<br />

ground. “At university, I interviewed a few<br />

up-and-coming young guys in the business<br />

<strong>as</strong> part of my thesis,” he recalls. “When we<br />

started out here, I looked them up and people<br />

like Thierry Coljon at Le Soir were then<br />

making their mark.”<br />

Coljon, now Le Soir’s music editor and<br />

chief critic, acknowledges the impact of contacts<br />

made in those early days. “<strong>The</strong> whole

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