Annual Report AB 2020

AB2020
WHAT A
%#?!*
YEAR
IT HAS
BEEN
ANNUAL
REPORT

© Michelle Geerardyn

TOM BONTE
General Manager
(from 1 September 2020)
© Marc Baert
© Lien Peters
MARC VREBOS
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
situation.
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.

Social
projects
© Michelle Geerardyn
EXAMINATIONS IN AB
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.

NEW YEAR’S EVE DINNERS
IN ASSOCIATION WITH HOBO
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
LIVE2020
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!

AB – AN OPEN HOUSE
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.
FRONTLINE FOR THE
FRONTLINERS
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
frontline.
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
emergencies
KURT OVERBERGH
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
Stormzy.
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.

Artistic
highlights
MICH
LEEMANS
Promoter
ASTRID
DE STERCK
Promoter
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
TARIK
VAN
ROMPAEY
Promoter
MARC
DE COCK
Promoter
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
ZWANGERE GUY’S PLAN B:
CECI N’EST PAS UN LIVESTREAM!
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.
KU LEUVEN TALKS
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
communities?
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
AB CANAPÉ
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
future.
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.

154.500
FACEBOOK LIKES
48.100
INSTAGRAM FOLLOWERS
80.200
TWITTER VOLGERS
71.300
ABtv SUBSCRIBERS
> 8.000.000
ABtv VIEWERS
© 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
united.”
MARIYA GABRIEL
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.

Faces
of AB
ILSE SCHOONACKERS
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
rooms.
LAURA MWANAMBUKA
Ticketing & Customer Service
ELINE LABAR
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
masses!”
FRANK TOMMELEIN
Maintenance
KRISTOF VAN EEKELEN
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
numbers
2019
TOTAL
REVENUE
2020
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.
2019
TOTAL
COST
2020
COSTS 2020 2019
Personnel € 2.763.393 € 5.499.581
NUMBER OF VISITORS
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
NUMBER OF CONCERTS
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
GENERAL ASSEMBLY
CHAIRMAN
Marc Justaert
BOARD MEMBERS
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
OBSERVERS
Duncan Braekevelt
Eva Vanhengel
Koen Haspeslagh
MANAGEMENT
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
ADMINISTRATION
Bieke Vermeylen
Administration assistant
Nawel Rachidi
Administration assistant
LIVEUROPE
Elise Phamgia
Liveurope coordinator
Bittencourt Hersan Fernando
Communication officer Liveurope
ARTISTIC TEAM
Astrid De Sterck
Promoter
Marc Decock
Promoter
Mich Leemans
Promoter
Tarik Vanrompaey
Promoter
Lisa Van de Cauter
Programming assistant
TCMATIC
(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
PRODUCTION &
MAINTENANCE
Kristof Van Dijck
Production coordinator
Eric De Vuyst
Production coordinator
Jonas Pauwels
Production coordinator
Yacoba Corral
Production manager
Yves Wullaert
Caretaker
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
Maintenance
Frank Tommelein
Maintenance
Ruben Verdickt
Maintenance
Habib Abdellatif
Cleaning
Halima Ftaich
Cleaning
Jampa Ngawang
Cleaning
Laila Kharraf
Cleaning
Marc Van den Wyngaerde
Cleaning
Renaud Alenbergh
Cleaning
Rachid Azzaz
Cleaning
ALL-ROUND EMPLOYEE
Maïsha Amany Mwarabu
HORECA
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
STAGEHANDS
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
RUNNERS
Isa Nouzha
Isabelle Nouzha
Patrick Oreel
Philip Rasquin
FREELANCERS LIGHT
Ben Verbruggen
Dorian Stevens
Eric Collignon
Joost Man
Kristof Van Eekelen
Robbe Peters
Yann Windey

FREELANCERS PRODUCTION
Junior Lambrechts
Tim Vanhaecke
Yacoba Corral
FREELANCERS SOUND
Bart Lebbege
Beo Van Haver
David Parker
Dirk Brysbaert
Floris Baert
Frederic Pauls
Laurens Ingels
Maarten Peeters
Marcel Cortleven
Vik Smedts
Willem Petersborg
FREELANCERS STUDIO
Staf Verbeeck
BACKSTAGE CATERING
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
HOUSEKEEPER
Boris Milcamps
Laurant Hayez
SECURITY
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
EXTERNAL CLEANING CREW
Laurent Vranjes
Nicolae Mircea
Serban Elena
Toderel Margareta
FREELANCERS TCMATIC
Helen Hermans
Amélie Van Hoorebeke
Adriaan Tas
TRANSLATORS
Catherine Gobert
Diane Kristensen
ISO Translation
De Lama’s
ink.
GRAPHIC DESIGNERS
Adriaan Tas
Vruchtvlees
Electric Potato
Shtick
Tim Bisschop
IN-HOUSE PHOTOGRAPHER
Michelle Geerardyn
TOILET SERVICE
Galina Yefanova
Hilde Van Daele
TECHNICAL SUPPORT
Inventis
Sparklink
Userfull
Ticketmatic
INTERNS
Juline Van Cauteren
Liam Van Belle
Mario Conterno
Youssra Nassif
Rania Gammouch
Sarah Gybels
Loïc Blondeel
Anton Dermine
SPECIAL THANKS TO
Agentschap Facilitair Bedrijf
De Vlaamse Gemeenschapscommissie
(VGC)
Departement Cultuur,
Jeugd en Media
JHOB Jeugdhuizen
Ondersteuning Brussel
MIVB-STIB
NMBS-SNCB
Politie Brussel
Stad Brussel
Vlaamse Gemeenschap
VZW Darna
Partners
STRUCTURELE PARTNERS
PARTENAIRES STRUCTURELS
MEDIAPARTNERS
PARTENAIRES MÉDIATIQUES
MOBILITEITSPARTNERS
PARTENAIRES MOBILITÉ
PROJECTSPONSORS
SPONSORS DE PROJECTS