Berlin Folk Festival 2026: How Do Independent Artists Get Booked for Festivals?
- Michele
- 20 August 2026, Thursday
Getting booked for a festival can seem like a bit of a mystery from the outside. Who decides which artists get booked, what are they looking for, and how do you get their attention in the first place? We spoke to Dan, organizer of the Berlin Folk Festival, to get some insight into how he approaches booking and what artists can do to stand out. Berlin Folk Festival's Summer edition takes place on August 29, 2026, at Gretchen, headlined by Bedouine.
Berlin Folk Festival: Building a New Space for Folk in Berlin
Many artists dream of performing at a festival, whether small or large. But the road to the stage is not a clear one, and the first steps can be the most difficult to figure out. That’s why we spoke to Dan, organizer of the Berlin Folk Festival, who illuminates the path for you.
The Berlin Folk Festival is a new Berlin, Germany-based festival dedicated but not limited to folk, psychedelic, and singer-songwriter music, built around a ’60s-inspired take on the genres. Its inaugural edition took place on March 14, and the second is nearly here, on August 29. The full Summer Edition lineup and official playlist are available here, with tickets on sale now and a special 10% discount for readers using code BFFLovesyou.
We asked Dan about the festival's story, identity, and where he would like to see it go. Here's what he told us in his own words.
"Berlin Folk Festival started as a colourful concept intertwining psych/folk music, '60s-inspired aesthetics, and live arts collaboration. On March 14th 2026, 900 attendees filled Festsaal Kreuzberg for the first edition headlined by the band "Drugdealer," as we aimed to fill a unique space in the city's music scene. Being known for the city's club culture, and its live music scenes being usually heavy & darker; we felt there was something missing: a space for lighter tones, psychedelic sounds, and a more joyful, open mindset."
The first, bustling gathering at Festsaal Kreuzberg back in March 2026 was proof that there is an audience for the type of music and experience the festival offers. Dan sees the upcoming edition as another building block for the event’s future and its place in the city.
"Now with our Summer edition on August 29th at Gretchen, we are leaning into a more folk-centered lineup surrounding our headliner "Bedouine" and her lush intricate acoustic sound. As for the future, we are aiming to secure funding for the 2027 edition(s) and see ourselves growing as Berlin's colorful indie-psych-folk festival.
We see our role for the city as a platform for local musicians to gain an entry point to the international music scene, by hosting touring headliners and pairing them with amazing local artists. We also see our space as a collaborative, Alice in Wonderland-esque creative space for all, with our interactive drawing & painting stations, and a fun-filled atmosphere created by our lovely guests.
Whether it's being moved by an incredible musical performance or making a new bestie painting together, we want everyone to feel welcomed and leave inspired with a greater sense of community.”
How Artists Get Booked for the Berlin Folk Festival
Dan’s response makes it clear that the festival is just as much about the experiences around the stage as it is about who's on it. But how do artists actually get booked for the festival? What does it take to make it in front of its audience? For Dan, his own taste, how an artist fits into the festival's broader sound and lineup, and the relationships he has built over the years all play a role.
“To be honest, the editions are based mostly on musicians who I love and who fit the vibe we are going for with the lineup in mind. For example, Bedouine has been one of my favourite folk musicians, her self-titled album is one of my favourite folk albums of the last years, so when I caught wind of a new album and tour, I started building the lineup quickly around her.”
Mia Wilson, who's part of this year's edition, came onto Dan's radar in a similar, organic way.
“Often it's organic, for example with Mia Wilson. She's a friend of Sam Blasucci, who played our first edition and whom I represent as his EU booking agent. He thought it would be a nice idea to put me in touch to work with Mia Wilson on her upcoming EU tour. Her album quickly became on repeat, and I added her as we started growing the lineup. I then started choosing some local artists, as I wanted to spotlight musicians who have helped shape the folk scene in Berlin, such as James Michael Rodgers, Scott & Lila, Sam & Trevor, etc. I usually book based on artists I've known in the scene for a while, or international acts I love.”
Beyond Connections: What Artists Should Pay Attention to When Reaching Out
Dan also gets approached directly by labels and agencies, as well as by booking agents he has existing relationships with. “Labels and agencies do reach out, but the selection is usually a mix of artists I'm digging musically, those who have some buzz in the scene, and people I'm already somewhat connected to. Some booking agents I have a closer connection with send me artists who, if I like the music, get added to the list of potential future acts.”
Although Dan's approach relies strongly on existing relationships and word of mouth, he is also open to artists reaching out directly. We asked him what makes an artist or application stand out to the team. “I guess it's a lot about what the kids are saying these days of having an aura. Whether that's having a creative reel which stands out and shows your music and vibe very well, or being talked about as an incredible performer, it's nice to have some excitement built to catch the eye,” he says.
His advice for artists reaching out by email is similarly straightforward. “For cold emails, it helps to have solid statistics and a connection to other artists I have booked in the past, artists I like, or well-known acts - even if it's just the fact that you also love them or are influenced by their sound.
Also about that aura thing; I think festival producers like to see buzz and potential. When an artist is doing something different and engaging / new - attention is grasped and it's possible to really stand out. The other points are - and I keep returning to this - that word of mouth is very key. If a friend or a musician I trust shows me new music, there's a greater chance I will get hooked, so I'd say staying open and using all the local connections you have to build your network is the way to go.”
For artists without those existing connections, that might make the process sound difficult to break into. But Dan's advice is less about finding a shortcut and more about building something around the music itself: creating a sense of who you are as an artist, making an impression, and gradually becoming part of a local scene.
“For contacting festivals for bookings, I would advise to contact with a purpose, make a sort of story out of it, and follow up. Also logically I think it's smart to grow locally first. Try the small-mid tier music festivals to build gradually, and once you have a connection with someone in the industry, see where it can take you, and really staying optimistic, open, and friendly is key to building relationships and growing in the industry :)”
The Takeaway: Getting Your Foot in the Door
Dan's advice revolves around a few practical points that artists can start working on today. Build relationships by going to music events where you can talk to people and stay involved in your local scene. And if you already know people, ask them to put your music forward when it makes sense.
Connections might be important, but don't get discouraged if you don't have them yet, or if networking simply doesn't come naturally to you. Not everyone finds it easy to build those kinds of relationships, and that doesn't mean there aren't other ways to get your music in front of the right people.
If you're reaching out yourself, take the time to figure out who is actually responsible for booking, and make sure that what you're sending is relevant to that particular festival. The music should fit, but so should be the way you present it. The genre, sound, atmosphere, and even the other artists on the lineup can all give context to why you think you belong there.
And perhaps most importantly, don't expect much to happen right away. Building relationships and finding the right opportunities can take time, and there will inevitably be some dead ends along the way. Not every email will get a response, and not every connection will lead somewhere, but trying over and over again and continuing to put yourself out there is an inevitable part of the journey.
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Michele is a Berlin-based writer passionate about music in its many forms, from soulful house, groovy techno, and breaky jungle/drum & bass to alternative rock, dark wave, and beyond. With experience in production, journalism, and DJing, they engage with the culture of sound from multiple perspectives. Their current topics of interest include club culture, music discovery & curation, dance, and the ways music affects perception & feeling. Michele writes in English.
