Red Light Radio was founded in 2010 and must have gone through many transformations and changes during this time. Is the spirit of enthusiasm still felt within the radio?
That’s a lot happening now. We do many projects and getting a little bit bigger abroad. Also, partnerships, the location we got. But the core of the station didn’t change, the taste of people behind the station, the space, the program. Red Light Radio is still a DIY station. I mean, we are rolling the cables ourselves while we are the founders.
However, people often call you an "institution." What do you think about it?
I am aware of the impact we have. It happened because the radio station was a place where local people and international guests have a way to show what they are about. We also have a record store, workspaces and we have just opened the bar Dynamic Range with audiophile room - all for the love of the music.
Tell me about Dynamic Range. What kind of place is it?
It is located in the basement of a new cultural place called Het Hem. It's a former army ammunition fabric, now room for a huge exhibition space and two restaurants. Orpheu and Red Light Radio received an offer to do something there, and then it appeared that there is no audiophile bar in Amsterdam, so that's how we came up with the idea to have a nice bar which is not too much for dancing but to enjoy music with a really good sound system and to have a nice drink. We just opened and right now are taking part in the program, and the promotion.
Red Light Radio was founded in 2010 and must have gone through many transformations and changes during this time. Is the spirit of enthusiasm still felt within the radio?
That’s a lot happening now. We do many projects and getting a little bit bigger abroad. Also, partnerships, the location we got. But the core of the station didn’t change, the taste of people behind the station, the space, the program. Red Light Radio is still a DIY station. I mean, we are rolling the cables ourselves while we are the founders.
However, people often call you an "institution." What do you think about it?
I am aware of the impact we have. It happened because the radio station was a place where local people and international guests have a way to show what they are about. We also have a record store, workspaces and we have just opened the bar Dynamic Range with audiophile room - all for the love of the music.
Tell me about Dynamic Range. What kind of place is it?
It is located in the basement of a new cultural place called Het Hem. It's a former army ammunition fabric, now room for a huge exhibition space and two restaurants. Orpheu and Red Light Radio received an offer to do something there, and then it appeared that there is no audiophile bar in Amsterdam, so that's how we came up with the idea to have a nice bar which is not too much for dancing but to enjoy music with a really good sound system and to have a nice drink. We just opened and right now are taking part in the program, and the promotion.
At some point, you realized that broadcasting is too limited a field for self-realization?
We just like to make cool things in music happening. We also do a lot of projects just for fun. There are a few projects that also create an income for the station. Sometimes with brands, sometimes partnerships with cultural organisations or festivals. Also we do stuff more as a music agency, so people come to us for advice in music and we help out with programming, locations and all that. I mean, there was Strange Sounds From Beyond where we curated our own stage and were also involved in finding artists for two other stages. There are also many designers and visual artists, so we can also help in different fields.
Who is in charge of all these projects now? How big is Red Light Radio's team?
Still me and Orpheu, we are the founders of the station, and we are still pretty much involved in anything we do. Also, there is Lieneke Wielhouwer who is responsible for programming. We have five people who are always here, and we have three interns.
Many condemn independent radio stations for collaborating with big brands. Red Light Radio is also often involved in various kinds of collaborations. Do you think this is the only scenario in which free broadcasting can be financially sustainable?
Yes, I think so. We don't get any funding from the government, like grants. I find that more of a pain.
At some point, you realized that broadcasting is too limited a field for self-realization?
We just like to make cool things in music happening. We also do a lot of projects just for fun. There are a few projects that also create an income for the station. Sometimes with brands, sometimes partnerships with cultural organisations or festivals. Also we do stuff more as a music agency, so people come to us for advice in music and we help out with programming, locations and all that. I mean, there was Strange Sounds From Beyond where we curated our own stage and were also involved in finding artists for two other stages. There are also many designers and visual artists, so we can also help in different fields.
Who is in charge of all these projects now? How big is Red Light Radio's team?
Still me and Orpheu, we are the founders of the station, and we are still pretty much involved in anything we do. Also, there is Lieneke Wielhouwer who is responsible for programming. We have five people who are always here, and we have three interns.
Many condemn independent radio stations for collaborating with big brands. Red Light Radio is also often involved in various kinds of collaborations. Do you think this is the only scenario in which free broadcasting can be financially sustainable?
Yes, I think so. We don't get any funding from the government, like grants. I find that more of a pain.
You know, working with brands sometimes is not too bad. Because right now, brands give you a lot of freedom. They know that it should be real. And somehow, we can convince brands to get to do something brand new.
You know, working with brands sometimes is not too bad. Because right now, brands give you a lot of freedom. They know that it should be real. And somehow, we can convince brands to get to do something brand new.
Can you name some of the most interesting ones?
The one we did with Sonos, a series called Liner Notes. We let great music heads make a mix, and we got into every track they played with insights. We also did this format in different living rooms, having artists talk about the tracks they played in a home setting with some audience. With Converse, we did so-called Red Light Sessions. These was a concert series with all kinds of bands like Moon Duo, H09909, The Soft Moon, J Mascis, Chelsea Wolfe, Shabazz Palaces, Youth Code, Charanjit Singh in pop-up locations, from churches, to offices or just empty warehouses. Free concerts, free booze, mega fun. This could have never happened without brand involvement.
Can you name some of the most interesting ones?
The one we did with Sonos, a series called Liner Notes. We let great music heads make a mix, and we got into every track they played with insights. We also did this format in different living rooms, having artists talk about the tracks they played in a home setting with some audience. With Converse, we did so-called Red Light Sessions. These was a concert series with all kinds of bands like Moon Duo, H09909, The Soft Moon, J Mascis, Chelsea Wolfe, Shabazz Palaces, Youth Code, Charanjit Singh in pop-up locations, from churches, to offices or just empty warehouses. Free concerts, free booze, mega fun. This could have never happened without brand involvement.
It would also be interesting to know about your approach to curating is. What are your goals?
We always try to have a little balance with the music styles, and we get people from different scenes and always try to push a little bit to get to those kinds of events in a city that really represents underground music scenes as a whole. For instance, we were in Bucharest, and there was a small broadcast with a nice representation of a more alternative electronic scene. And, of course, I like it when people are just very diverse.
It would also be interesting to know about your approach to curating is. What are your goals?
We always try to have a little balance with the music styles, and we get people from different scenes and always try to push a little bit to get to those kinds of events in a city that really represents underground music scenes as a whole. For instance, we were in Bucharest, and there was a small broadcast with a nice representation of a more alternative electronic scene. And, of course, I like it when people are just very diverse.
I love it when there are oldheads who are playing rare records or super young kids with laptops playing some new productions. I always want to represent all kinds of essential scenes at the moment.
I love it when there are oldheads who are playing rare records or super young kids with laptops playing some new productions. I always want to represent all kinds of essential scenes at the moment.
It’s always good if we can represent some queer movements. We like boys and girls on the broadcast so we look at diversity in many ways and we do it in shows abroad. We do it in our station, and we do it on festivals.
Don’t you think that in the conditions of an overabundance of information video broadcasts and the amount of content produced by Red Light Radio no longer finds the desired response from the audience?
I am sure there is a response. We were never big fans of putting the camera in the studio. For us, it is super nice to have an archive of sets, and if you discover a particular DJ, you have a bunch of shows he or she did over the years. It’s online, and you can find good music anytime. And this camera thing, it helps a lot, and it made Red Light Radio. I think we were doing it even before Boiler Room, this Facebook live-stream, for example. I mean, last month we were in China where they are not easily on Facebook. We managed to get these local artists to use our platform to get known by the rest of the world. Talents should not be isolated because of where they are born or political situation and it’s possible to change that through video and also through social media networks.
It’s always good if we can represent some queer movements. We like boys and girls on the broadcast so we look at diversity in many ways and we do it in shows abroad. We do it in our station, and we do it on festivals.
Don’t you think that in the conditions of an overabundance of information video broadcasts and the amount of content produced by Red Light Radio no longer finds the desired response from the audience?
I am sure there is a response. We were never big fans of putting the camera in the studio. For us, it is super nice to have an archive of sets, and if you discover a particular DJ, you have a bunch of shows he or she did over the years. It’s online, and you can find good music anytime. And this camera thing, it helps a lot, and it made Red Light Radio. I think we were doing it even before Boiler Room, this Facebook live-stream, for example. I mean, last month we were in China where they are not easily on Facebook. We managed to get these local artists to use our platform to get known by the rest of the world. Talents should not be isolated because of where they are born or political situation and it’s possible to change that through video and also through social media networks.
Are indicators such as a number of listeners important to you?
Sometimes some shows back in the days reached millions of people, and it's like: "What the hell?" Million of people just heard this because we are broadcasting it! It makes me happy. But the whole platform from day to day and everything that is happening around it is much more relevant than the numbers. Numbers have no priority. I've never checked it. I do not care.
Are indicators such as a number of listeners important to you?
Sometimes some shows back in the days reached millions of people, and it's like: "What the hell?" Million of people just heard this because we are broadcasting it! It makes me happy. But the whole platform from day to day and everything that is happening around it is much more relevant than the numbers. Numbers have no priority. I've never checked it. I do not care.
It's just funny. People who don't know what we are doing they always ask: "How many people listening to it?" And I just don't know.
It's just funny. People who don't know what we are doing they always ask: "How many people listening to it?" And I just don't know.
Are there any other ambitions that you have not yet realized with Red Light Radio?
I think I achieved much more than I thought would happen. So it's tough to tell about next steps, but it would also be a nice idea to share the knowledge that we have over all the years. We can go somewhere and do a broadcast, but it would be helpful to bring something sustainable, especially to countries and cities that have exciting scenes going on. And that's a little dream of me, to be honest. Not just to go to Marrakech and do a broadcast with local artists but have a Morrocan independent online platform with an outlet for lots of people who do amazing things.
Are there any other ambitions that you have not yet realized with Red Light Radio?
I think I achieved much more than I thought would happen. So it's tough to tell about next steps, but it would also be a nice idea to share the knowledge that we have over all the years. We can go somewhere and do a broadcast, but it would be helpful to bring something sustainable, especially to countries and cities that have exciting scenes going on. And that's a little dream of me, to be honest. Not just to go to Marrakech and do a broadcast with local artists but have a Morrocan independent online platform with an outlet for lots of people who do amazing things.