There hasn’t been much in the way of collaboration or crossover between the Austria and India music markets thus far — aside from Bloodywood and Peter Cat Recording Co. performing in Vienna as part of their Europe tours — but Austrian Music Export is hoping to change that in the coming years. In February, Austrian electronic musician Kimyan Law, who accompanied its trade mission to the India International Music Week conference in Goa, performed a well-received showcase set at the event.
In the second instalment of this series in which we interview the heads of international music industry organisations about their experiences of working with the Indian music industry, we speak to Franz Hergovich, project leader at Austrian Music Export, about the prospects of cultural exchange between musicians in the two nations.
What, according to you, is the most unique thing about the Indian music market?
Its potential! It’s a mix of the enormous size of the population, the fast growth of the music market, and the openness of audiences for music of all genres.
What’s the most exciting thing about the Indian music market?
The interest of the music sector in collaborating with European companies and artists. Compared to most other territories, there’s much less dominance of major labels and their mostly Anglo-American repertoire, so it seems more accessible to independent artists. Although there are so many languages—which are also an important factor in reaching audiences in different regions—communication in English with everyone in the business is easy and saves a lot of translation work. Most of the platforms and social media channels that European music actors use are common in India too, so there are far fewer restricted areas for foreign artists than, for example, in China.
What’s the most challenging thing about the Indian music market?
You need enough resources to enter the Indian music market sustainably, travel costs are substantial.
What are some of the things the Indian music business could learn from Austria?
As Austria is so much smaller, it’s very difficult to compare, but maybe it’s the structural elements, that India could look at. We have an excellent and very affordable music education [sector], and a lot of organisations with support programmes for musicians and music companies. There are funding bodies for culture and especially for music and also lobbying organisations for most parts of the sector. Furthermore, we have established long-term exchange with neighbouring countries, especially with Germany, and we do co-operate a lot within Europe, facilitated by support from the European Union.
What are some of the things the Austrian music business could learn from India?
The curiosity and openness for new developments, the enthusiasm and engagement of the players, and the positive believe in progress makes it a much more dynamic, flexible and fast business compared to most European markets.
Where do you see the most potential for the import of or collaboration with Austrian artists within India?
In theory, all genres have a lot of potential, even niche ones. But I’d see most potential for artistic cooperations that would ideally also help reach non-English-speaking listeners. That’s most realistic for electronic music artists or hip-hop producers. Smaller set-ups, as in for electronic music, would also help keep travel costs lower.
Where do you see the most potential (for e.g. which genres, artists, etc.) for the import of or collaboration with Indian artists within Austria?
As there’s no Indian diaspora in Austria, you’d need to reach local audiences without any further connection to India. Therefore I’d see most potential in the genres that work best in Austria. That’s pop, rock, hip-hop and dance.
