Annual Report AB 2020

Annual Report AB 2020

Annual Report AB 2020


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© Michelle Geerardyn


General Manager

(from 1 September 2020)

© Marc Baert

© Lien Peters


Interim General Manager

(until 31 August 2020)

And then there

was nothing

The New Year got off to a good start in 2020: on

13 January we held an internal vision day at AB;

a promising one, at which the AB team as a whole

brainstormed informally over new ideas for the mid

to long term, visionary dreams about the future of

this amazing music house... Everything was good.

The feeling was only heightened when we broke

the record for our ‘best first quarter’ in forty years

of existence. Until that wretched day dawned on

Tuesday 10 March.

We didn’t yet know that it would be the last ‘normal’

concert in a very long time. AB was packed to

the rafters for the American thrash metal band

Testament, in the Main Hall, and Rex Rebel, the band

formed by Sam Bettens, in the AB Club. There was

nothing to suggest what was on the horizon that

evening, or how it would impact our organisation and

society as a whole. The day afterwards, everything

came to a standstill.

Along with the rescheduling or cancellation of

concerts we saw all contact between employees,

audiences and artists vaporise. No matter how

hard we strained to avoid it, by the summer we

had no other option than to suspend our working

relationships with more than 200 external workers

(stage hands, security staff, hospitality personnel,

backstage caterers, freelance technicians and

production managers, external cleaners, etc.) for

the foreseeable future.

So here we are, dozens of exit scenarios later, with

our hope in tatters, facing uncertainty and dread.

Repeatedly asking everyone, at all levels, to take a

flexible stance, and to take one step forward and

two in reverse, in response to the ever-changing


The lack of short and medium-term prospects, the

social restrictions, the tightrope between work and

private life, uncertainty over what the ‘new normal’

will be, figures running deeper into the red... For

many, these come like hammer blows in an assault

on their mental health. Will that sense of elation

and inhibition that we hold so dear in the live music

industry survive? Or will we have to keep our wits

about us for years to come? Are we heading for a

future of cultural experience on doctor’s orders?

Despite all the uncertainties, we did what we had

to in 2020: we stood tall and, wherever possible,

continued to support the hardest-hit group in our

industry: the artists. We did it in the form of residencies

and rehearsals, livestreams, and even by

passing the full ticket revenues on to them. We also

opened our infrastructure to other social actors

with corona-related issues.

One thing is certain: you don’t know what you’ve

got until it’s gone.



© Michelle Geerardyn


In April, AB received a call from KU Leuven and the

Odisee College of fiscal sciences in Brussels. The

social distancing and hygiene rules had saddled

them with an acute shortage of space for some of

their final written examinations. At the same time, we

were looking for alternative uses of our halls, which

the COVID-19 epidemic had left sitting empty for

several weeks. We were thinking of alternatives with

maximum social engagement.

In this case, 1 and 1 made a very resounding 2.

We didn’t hesitate for one second. With input

from the university and college, the appropriate

safety measures were put in place. And so, in June

2020, some 4,000 students (!) sat their written

examinations at Ancienne Belgique. We managed

four exam sessions a day, with no more than 80

students a session.

For the first time in AB’s forty-year history, what

should have been an intense experience of music was

replaced by a month of silence, examination stress

and total concentration. For many of the students

it was actually a unique experience (and we hope it

didn’t affect their results adversely). At the same

time, it presented AB with an opportunity to play a

social role in these precarious times, which was much

appreciated by the employees who made it possible.



Last year, initial contact was established with Hobo,

a non-profit day centre for homeless people in Brussels that

organises leisure activities and helps people to find work.

This year, amid the coronavirus crisis, an idea was hatched

to hold the non-profit’s end-of-year celebrations at AB.

© Hobo

After the rules were tightened in the autumn months, an

alternative had to be sought. AB and Hobo joined forces and

delivered meals to people who were homeless and socially

isolated. With the help of a small army of volunteers, some

250 festive meals were prepared in the AB’s renowned

backstage kitchen and delivered on New Year’s Eve.

We also involved our loyal AB audience by issuing a

friendly call to support the action. A dinner could be

sponsored for €5 through the AB ticket system. With

7500 dinners sold, it was an unexpected success. Every

cent of the revenues went to Hobo.

We know for certain that this action helped brighten the

dark days around the New Year. It also planted the seeds

of cooperation, which will undoubtedly continue for many

years to come.

© Lien Peters

© Lien Peters


There would be no AB without the artists and their crews.

No live concerts without backliners, stage hands, caterers,

booking agents, technicians etc. To give the hard-hit

live sector a boost, AB and its audience did all they could

to support the LIVE2020 solidarity fund.

The sale of our ‘ABnormal’ face masks brought in no less

than €15,000. Not long afterwards, the famous AB disco

ball and our old stage floor went for just under €10,000.

Thanks to LIVE2020, the money raised will find its way

to all those who make live music possible and find themselves

in dire straits as a result of the coronavirus crisis.

Together we are #UnitedForLiveMusic!


COVID-19 turned our vibrant venue into a ghostly

complex. Employees spent most of their time working

from home. Between the peaks of the pandemic we

could allow only sporadic activity at AB. We were glad

to open our halls to a few social organisations. Belgian

Red Cross-Flanders, for example, took litres of blood

from more than 100 donors. Never has our red Main

Hall been as red as it was mid-summer: with blood,

sweat and donors.

We also opened the doors to TADA – ToekomstAtelier.

This organisation gives 1300 or so vulnerable teenagers

(and their entourages) in Brussels access to a

network through which they receive intensive coaching

over a number of years. AB held a sound and light

workshop and prepared several of the youngsters

for the real thing. They got to twist dials and sing and

dance on the AB stage. It was as if there was no such

thing as coronavirus.



The real heroes of 2020 are the healthcare workers.

In an effort to thank the weary healthcare sector, AB

launched the ‘Frontline for the Frontliners’ campaign

in early July. An initiative that keeps a free seat in

the front row for anyone who fought COVID-19 on the


On Saturday 11, Tourist LeMC kicked the campaign off

with an AB concert exclusively for healthcare workers.

In September and October too, care workers enjoyed

front row seats at Blanche, An Pierlé, Admiral Freebee,

Marble Sounds and others.

The war isn’t yet won, but when AB opens its doors

again it will be thanks to the unstinting efforts of

people in the healthcare sector. They have truly earned

their front row seats.

© Michelle Geerardyn

Or the art of

reflecting with

pride on a

year of artistic



Artistic Director

Initially, the first quarter of 2020 looked like a musical

triumph, with international bestsellers such as

Devendra Banhart, King Krule, Supergrass, Thurston

Moore Group, Big Thief, Strand of Oaks and Gregory

Porter, topped by a big two-dayer from grime-master


For the first time in his career, icon and national

treasure Arno played three sell-out concerts over

three days, while his contemporary Raymond van het

Groenewoud celebrated his 70th birthday on stage

at AB. Equal Idiots and Raketkanon played their ‘most

popular’ AB concerts so far.

Under ‘Sound Of The Belgian Underground’ we

presented ten acts to watch out for, and barely a few

months later a few of them - Chibi Ichigo, Benjamin

Abel Meirhaege and IKRAAAN - made a breakthrough.

In ‘Belpop Bonanza: 1000 Brussel’, a real (sell-out)

theatre production, we looked back over 40 years of

AB history with Belpop connoisseurs Jan Delvaux and

Jimmy Dewit.

And then the curtain fell... The national lockdown

officially commenced at midnight on Friday 13 March

2020, but AB had already acknowledged its social

responsibility and made the pro-active decision to

close on 11 March. This implied that ‘a few’ concerts

would have to be rescheduled for later. In the end, ‘a

few concerts’ turned out to be in the region of 300

(!). AB soon decided to keep calm and carry on, and

asked: what action can we take that will allow us to

look back with pride, in a year’s time, on a year of

crisis unlike any our world has seen since WW2?

Once the doors reopened, AB organised a number

of bubble concerts under the heading ’ABnormal’.

They were initially for 200 concertgoers, then for

400. The crowd welcomed the acts with as much

applause as they would give for an encore. And it was

gladly accepted by Admiral Freebee, Tessa Dixon,

An Pierlé, Ozark Henry, SCHNTZL, The Radar Station

and School Is Cool. The contemporary electro/improv

scene (Farida Amadou, Ben Betrand, Karen Willems

etc.) also received a focus of its own.

The full price of every ticket sold in the concert series

was passed on to the artist and their entourage. In

this way, AB was able to support those who were

most affected by the crisis, and at the same time

demonstrate that its concerts could be COVID-safe.

Behind the scenes, AB carried on as usual with

residences under the ‘In Residence’ programme and

helped artists (including Echo Collective and Coline

& Toitoine) to host rehearsals or support pre-productions.

Finally, AB also put its weight behind the

preparations for the pop-up culture broadcaster

PODIUM 19, which was launched in early 2021.

Let it be said: in a hall like AB, silence will not

be tolerated.









The Sound Of The Belgian Underground 2020

was an unforgettable edition. The combination

of discoverable artists and established names

produced a really nice dynamic. Not long after that

Stormzy laid on an amazing two-dayer that left a

lasting impression. Daniel Norgren in the Koninklijk

Circus, King Krule and Big Thief also got me reminiscing

about the good times during the lockdown

months that ensued.

Of all the concerts we had in those two months I

really enjoyed Steven De bruyn, who does some

unbelievable stuff with harmonicas and electronics.

The Colorist Orchestra & Gabriel Rios were

of a top international standard, and more people

should hurry to check them out. We also had

Arno’s 70th birthday party, a really sick edition

of ‘The Sound Of The Belgian Underground’, the

improv of the synth/sax duo Thomas Lehn & John

Butcher in the AB Salon, Thurston Moore, who

collaborated with Les Ateliers Claus to present

new material, Raymond van het Groenewoud, who

came to celebrate his 70th birthday, a Touch label

evening featuring Jana Winderen and others, a

wonderful evening in the AB Club devoted to the

work of (electronica) pioneer Maryanne Amacher

with Thomas Ankersmit, and a very beautiful

concert in a freezing Our Lady of Good Assistance

Church by A Winged Victory for the Sullen. Who

said that 2020 was a bad year for music?

© Michelle Geerardyn © Michelle Geerardyn

© Michelle Geerardyn © Michelle Geerardyn








In 2020, we had only a couple of months to arrange

concerts for the public, but what a couple of months

they were! Two days of Stormzy (with Red Devil

Jan Vertonghen in the audience!), the return of

ScHoolboy Q, the farewell concert of Raketkanon,

a grand headline show by Glints, While She Sleeps

, who had the Main Hall in the palm of their hands,

Sam Fender in a sell-out Main Hall and my personal

favourite: Winston Surfshirt. This funky Australian,

who sits musically between Anderson .Paak and

Unknown Mortal Orchestra, managed to get the

whole club laughing when he set off to the bar for

drink, while still singing.

All I’m going to do is drop a few stunning names,

in random order: Steven De bruyn, Arno (three

times), Herman van Veen (twice), Gregory Porter,

Supergrass, Djangofolllies / Jazzy Strings, Milky

Chance, Strands Of Oak, The Marcus King Band,

Moonlight Benjamin, Raymond 70, Daniel Norgren,

Hot 8 Brass Band, Mighty Oaks, Tom Rosenthal…

and, finally, Rex Rebel!

AB online

© Michelle Geerardyn



When the highly acclaimed ‘Wie is Guy?’ appeared in

late 2019, we couldn’t wait to get the ‘boss of Brussels

rap’ back to the AB. The atmosphere of his phenomenal

last appearance is still in the fibres of our clothing. The

bastard year 2020 had other ideas. But if you thought

COVID-19 would stun Zwangere Guy into silence, you

have another think coming.

AB teamed up with the friends of Muntpunt to find

a Plan B for ZG. You can take that quite literally, as

throughout the summer, the slackers of Brussels posted

alternatives on an online platform under that name.

Zwangere Guy’s Plan B was neither a concert, nor a

livestream. A fine example of Brussels absurdism! ‘Ceci

n’est pas un livestream!’ was an amazing spectacle

poised between a visual kick in the balls and a frail

and introverted performance. A unique online event,

whose exclusive premier could be watched on-screen

at Cinema Palace, next-door to AB.

AB’s YouTube channel gives a clear result. More than

112,000 views and counting! Put Papa ZG on the stage

and you get enerGUY. Give him the keys to AB and you

get GUYnius.


In 2020 we saw a society that was in the throes of

radical change, but also facing a number of serious

social challenges. AB grappled with these moments

and used them as points for self-reflection. Along with

KU Leuven and Horst Arts & Music Festival, we turned

our attention to several sociocultural themes, and

through ‘talks’ we sought opportunities for the music

and nightlife scenes.

The first debate, on the significance and impact of a

music club and free space in the (surrounding) nightlife,

could not go ahead because of the first lockdown.

It was postponed but not cancelled, because we are

still grappling with some of the issues at the present

time. In what way do music clubs make their mark

on the cultural identity of our towns and cities? And

do they affect the emergence of subcultures and


In November a new theme followed: a second talk in

the wake of the burning issue of Black Lives Matter. AB

joined Vice to organise a Facebook Live session entitled

‘Decolonising music & nightlife culture’, which took a

critical look at the origins of techno and the consciousness

of some actors in an imbalanced system. This

digital panel discussion created a media storm around

activities in and outside AB. The challenges and issues

that emerged are still of massive relevance.

© Willem Govaerts


A closed AB in a closed society. A year ago nobody

would have put money on it, but the reality has gradually

dawned. We were left stunned at first, in an empty

concert hall. The culture sector had been dealt a deadly

blow, and it was hard - indeed, it still is - to look to the


The great Johan Cruijff said that we should see out

every match with patience and remember that there is

an advantage to every disadvantage. In the end, the lack

of prospects gave us time to reflect, and to look back on

the past.

It is a rich past. Very rich. And much of it has been

recorded in bits and bytes, audio and visual, on hard

disk. As we sat musing on a sofa about how we might

at least apply a sticking plaster, AB Canapé was born.

Wicked concerts from ‘way back’, delivered to the AB

audience at home, digitally.

77 days in a row, from the biggest names on the planet

to the talent of tomorrow. The AB audience has viewed

them with us some 2.5 million times. The best-loved

were the concerts by Cigarettes After Sex, Ry X,

Tenacious D, Coldplay, Iggy Pop and Norah Jones. But

our very own Tamino, Zwangere Guy and Amenra were

revisited with equal relish. The mass response warmed

our hearts and brought it home to us again that AB has

the best concert audience.









> 8.000.000


© Michelle Geerardyn

“Liveurope is a key

partner for us in the

European Commission.

We must applaud every

person working in the

music sector for uniting

us. And the Liveurope

Online Festival exactly

shows us that we are



European Commissioner for Innovation,

Research, Culture, Education and Youth

Helping emerging artists to find new audiences

across borders: this is the core mission that

Liveurope has continued to carry, despite the

challenges brought on by the pandemic.

New activities fit for Covid times

AB joined forces with the fifteen other iconic

venues that are part of this European platform

to find new ways to throw the spotlight on

Europe’s music scene. Some of the formats

developed included a one-month digital tour

for artists through the venues’ social media

accounts, an online festival streamed simultaneously

from all the venues, and increased

media presence.

Looking ahead

As a crucial initiative in the European cultural

ecosystem, Liveurope strove to ensure solid

conditions for the sector’s recovery ahead

of the adoption of the new Creative Europe

program (2021-2027), that was increased to 2.2

billion euros. To provide positive perspectives

to the sector and become even more representative

of Europe’s geographical diversity,

the platform has opened a call to add five new

venues to its structure.


of AB


HR Manager

“We have been through an awful lot in the last

12 months: disbelief, adrenaline, monotony,

hope, resignation… I can’t wait until we get

back to working the way we are supposed to:

with lots of enthusiasm, energy and packed



Ticketing & Customer Service


Sponsoring & Events Manager

“What a huge impact this crisis has had! It

feels so contradictory to spend a whole year

postponing and cancelling concerts. I’ve been

able to focus on myself, and I’ve started a

Master’s in Culture Management. It is important

to grasp opportunities in these strange

times and to keep learning new things.”

“No AB for a year felt like someone had

suddenly punched the pause button on the

‘good life’. I am already looking forward to the

restart: unbridled joy, letting our hair down

and sprinkling tons of love over the musicloving





Freelancer Lights

“Even though I still regularly come in and do a

day’s work at AB, I really miss the atmosphere

of old. It’s different now, because there are

so few people there. I’ve completely lost my

rhythm, because I am not used to sitting at

home. I am looking forward to getting stuck

into it again, and feeling that phenomenal

ambiance that only AB can give you!”

“For me, more than a year without AB means:

one year of pain, one year at home, one year

without feeling applause, one without being

able to work, one year of no income... I want to

get back to it as soon as possible! Mic drop,

Choco out!”

Let’s talk






At the very least, we can say that 2020 was a

challenging year. The new situation turned the AB

financial model on its head. Fortunately, sales were

pretty high in the opening two months: €2,160,000,

or a quarter of the previous year.

In 2019, our personnel costs were 5.5 million euros.

If we place this figure alongside our Flemish operating

subsidy (2.1 million euro), we see that in ‘a normal

year’ we have to generate a huge amount of income

ourselves to pay our staff.

REVENUES 2020 2019

Grants & subsidies € 2.955.943 € 3.228.264

Ticket sales € 1.361.495 € 5.205.702

Sponsorship € 1.206.972 € 1.319.596

Food & beverage € 528.480 € 2.304.019

Miscellaneous € 351.153 € 568.600

Venue rental € 270.055 € 1.089.915

TOTAL € 6.674.097 € 13.716.096

The temporary unemployment benefit was a huge

support in 2020, and it enabled us to reduce our

personnel costs to 2.8 million euro.

On the revenues side, it is clear we have been forced

to rely on subsidies more than ever. Whereas these

account for 20 to 25% of our income in normal

circumstances, they have doubled to 44%. This year

too, the support we receive from our AB sponsors

has been vital. In a year in which less visibility was

guaranteed than normal, they showed a willingness

to stand by us in good times and bad.





COSTS 2020 2019

Personnel € 2.763.393 € 5.499.581


2020 75.625

2019 318.151

Programming € 866.071 € 3.582.099

Sponsorship € 792.933 € 841.220

Liveurope € 515.335 € 498.504

Depreciation € 450.978 € 281.217

Promotion € 395.259 € 486.792


2020 89

2019 370

Overhead € 394.100 € 538.462

Maintenance € 312.543 € 407.015

Goods € 188.514 € 667.743

Miscellaneous € 174.295 € 486.998

TOTAL € 6.853.422 € 13.289.632

© Michelle Geerardyn

Our crew in 2020



Marc Justaert


Albert Schreurs

Barbara Van Gheluwe

Bram Swaerts

Dis Huyghe

Emmanuel Boodts

Erik Hulsbosch

Frederic Masil

Ibrahim El Ouakili

Johan Vanhoecke

Kris Lauwers

Lieven De Rouck

Magda Debrouwer

Marinka Vangenck

Michel De Coster

Mieke Neyrinck

Nic Van Craen

Peter Claes

Pieter-Jan Mattheus

Saida Sakali

Sara Rampelberg

Steven Tritsmans

Thomas Flebus

Tom Lenaerts

Veronique Godard

Veronique Peters

Vincent Van Peteghem

Wouter Van Renterghem


Duncan Braekevelt

Eva Vanhengel

Koen Haspeslagh


Tom Bonte

General director

Marc Vrebos

Technical director

& General director ad interim

Kurt Overbergh

Artistic director

Ilse Schoonackers

HR manager

Ward Cannaerts

Marketing & communication manager

Dennis Bols

Finance manager


Bieke Vermeylen

Administration assistant

Nawel Rachidi

Administration assistant


Elise Phamgia

Liveurope coordinator

Bittencourt Hersan Fernando

Communication officer Liveurope


Astrid De Sterck


Marc Decock


Mich Leemans


Tarik Vanrompaey


Lisa Van de Cauter

Programming assistant


(Team Communication,

Marketing & Ticketing)

Lien Peters

Social Media & Storytelling

Karolien Van Humbeeck

Concert Promotion

Eline Labar

Sponsoring & Events Manager

Peter Deckers

Content Manager

Joke Van Ransbeeck

Digital Marketing

Max Gadeyne

Communications Officer

Jens Van den Wyngaert

Press & PR

Maarten Coosemans

Video producer

Anysa Grammenoudis

Ticketing & Customer Service

Jennifer Vleminckx

Ticketing & Customer Service

Laura Mwanambuka

Ticketing & Customer Service



Kristof Van Dijck

Production coordinator

Eric De Vuyst

Production coordinator

Jonas Pauwels

Production coordinator

Yacoba Corral

Production manager

Yves Wullaert


Rachid Elbekkali

Stewards coordinator

Renaat Van Hee

Light coordinator

Cédric Leboutte

Light technician

Jan Van Lindt

Light technician

Joris Vandamme

Light technician

Bram Van der Weeën

Sound coordinator

Willem Petersborg

Sound coordinator

Andreas De Roy

Sound technician

Kurt Vandebroek

Sound technician

Tom Lezaire

Sound technician

Stef Van Alsenoy

Studio engineer

Jasper Plaetinck

Maintenance coordinator

Dirk De Corte


Frank Tommelein


Ruben Verdickt


Habib Abdellatif


Halima Ftaich


Jampa Ngawang


Laila Kharraf


Marc Van den Wyngaerde


Renaud Alenbergh


Rachid Azzaz



Maïsha Amany Mwarabu


Alice Dooreman Van Thillo

Alicia Sterckx

Arno Melis

Azra Sterckx

Belal Moayad Latef

Brahim Achoumi

Britt Anciaux

Bruno Van Daele

Chanel Frederix

Charlotte Vander Gucht

Deborah Bracke

Deborah Smets

Dilay Samanli

Elliott Bries

Enzo Napoletano

Eric Meersmans

Eva Forceville

Grace Kamashi

Hamza Bendouda

Hannelore Schurgers

Jiri Loozen

Johan Baeten

Johannes Mevis

Jonah Will

Jutta Huyghe

Kenneth Raemaekers

Klaas Devos

Lahouari Bendouda

Lauren Vander Elst

Lien De Witte

Margot Van Daele

Marie Cabula

Martha Balthazar

Mathijs Clarysse

Mathis Voets

Maxim Plaisier

Melvin Podolski

Nastasia Daelman

Nicolas Verspecht

Niels De Rooms

Rani De Leener

Robbe Broeckx

Sanaa Benhammou

Sarah Hamdi

Soetkin De Backer

Solange Luyckx

Suresh Poobalasingam

Suzie Landuyt

Tessa Torrekens

Timmy Ieroianni

Toufik Guelloula

Valery Mugenga

Vesara Molla

Wietse Vanophalvens

Wolf Asselman

Zarah Coussement


Alexandre Balthazar

Anthony Ploux

Antone Israël

Benjamin Gervais

Benjamin Tordeur

Christophe Houyoux

Christophe Masson

Didier Barniche

Edwin Lahousse

Filipe Raposo

Hélène Dandoy

Hubert Launois

Jen Debauche

José Bonga

Khalid Salhoume

Laurent Dekens

Laurent Hayez

Laurent Sterckx

Loic Buisson

Lou Lahousse

Mehdi Ayari

Michel Dubois

Patrick Carnaille

Rafael Gouirand

Robin Rees

Rudolf Rovella

Sebastien Destrait

Thomas Gerard

Vincent Kouakou


Isa Nouzha

Isabelle Nouzha

Patrick Oreel

Philip Rasquin


Ben Verbruggen

Dorian Stevens

Eric Collignon

Joost Man

Kristof Van Eekelen

Robbe Peters

Yann Windey


Junior Lambrechts

Tim Vanhaecke

Yacoba Corral


Bart Lebbege

Beo Van Haver

David Parker

Dirk Brysbaert

Floris Baert

Frederic Pauls

Laurens Ingels

Maarten Peeters

Marcel Cortleven

Vik Smedts

Willem Petersborg


Staf Verbeeck


Aurelie Zeebroek

Chloe Girten

Christophe Houyoux

Deborah Smets

Eline Baert

Joren Poisquet

Katie De Buck

Laura Martin

Manon Leneveu

Marianne Bouckhout

Marie-José Berto

Pascale Junker

Paulien Cantraine

Rembert Notte

Sam Vandermarliere

Yves Wullaert


Boris Milcamps

Laurant Hayez


Didier Verstraeten

Janet Pambo

Jean-Marc Kulawik

Jeraldine Garcia

Johnny Belhach

Kheira Diallo

Laijla Sabir

Lionel Bolly

Lucas Dos Santos

Mejdoubi Radi Manal

Marco Alcaide Pozo

Marcus Van Den Plas

Mathieuw Lainé

Maurene Lhoir

Cedric Nelissen

Olivier Van Braekel

Omar Boussof

Philippe Van Mulders

Rachid El Boudaoudi

Rachid El Bouri

Rachid Elbekkali

Redouan Jawad

Romain Bouchouaf

Sean Loop

Serge Stallaert

Simon Arpino

Simon De Smet

Koen Springael

Steward Front

Thomas Gillepsie

Tine Declerck

Valmir Shkodra

Véronique Leclercq

Yasmina Diallo

Younes Zekhnini


Laurent Vranjes

Nicolae Mircea

Serban Elena

Toderel Margareta


Helen Hermans

Amélie Van Hoorebeke

Adriaan Tas


Catherine Gobert

Diane Kristensen

ISO Translation

De Lama’s



Adriaan Tas


Electric Potato


Tim Bisschop


Michelle Geerardyn


Galina Yefanova

Hilde Van Daele







Juline Van Cauteren

Liam Van Belle

Mario Conterno

Youssra Nassif

Rania Gammouch

Sarah Gybels

Loïc Blondeel

Anton Dermine


Agentschap Facilitair Bedrijf

De Vlaamse Gemeenschapscommissie


Departement Cultuur,

Jeugd en Media

JHOB Jeugdhuizen

Ondersteuning Brussel



Politie Brussel

Stad Brussel

Vlaamse Gemeenschap

VZW Darna










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