From the very beginning, SPOT has been created as a festival for discovering new music. And if there’s one thing that can spark debate, it’s tunes of tomorrow. Choosing the debut artists featured each year is no small feat, which is why a panel of five seasoned industry experts takes on the challenge. In this article series, meet the jury members behind this year’s selection of debutants – and find out who you should thank when you discover your next favorite artist this May!
Meet Artist Manager and Tour Manager, Kaylee Pearson
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Why did you say yes to being part of SPOT’s Listening Jury?
I said yes because SPOT has had great significance for both me and the artists I’ve worked with over the years. It’s one of the few places where emerging artists are truly listened to by both the industry and the audience. Being part of the Listening Jury felt like an opportunity to give something back while also helping shape which voices get space early in their careers.
What, in your opinion, characterizes an exciting SPOT debut artist?
To me, an exciting debut artist is someone with strong, high-quality music, but also with clarity in their project. They know who they are, why they make music, and why it makes sense for them to play SPOT right now. So, a clear artistic direction and a sense of timing.
How do you balance your personal music taste with an objective assessment of an artist or band?
Of course, my personal music taste shouldn’t be the benchmark. Instead, I try to evaluate a project on its own terms: whether the expression is clear, whether the idea is consistent, and whether there is real potential for development.
What general trends have you observed among this year’s applicants, and what has surprised you in this year’s pool of debut artists?
Most applicants this year are of very high quality. Several of the artists seem highly professional early in their careers. It’s really great to see.
What do you see as the biggest challenge for new artists trying to break through today?
Visibility and sustainability. An enormous amount of music is being released, and it’s hard to get through the eye of the needle. Many new artists are expected to be creative, strategic, constantly present, and financially self-sufficient — that’s a lot of pressure.
What kind of musical development or innovation do you hope to see from future debut artists?
I hope to see debut artists who dare to take ownership of their own pace and don’t feel pressured to constantly chase the next format or trend. Musical innovation doesn’t have to mean something completely new — it can just as well lie in depth, uncompromising choices, or the courage to stand by a personal expression.
How have mental health, project sustainability, and responsibility in the music industry played a role in your jury work with the debut applications?
It has definitely been part of my considerations. I look for projects where there is some form of balance and realism in the ambitions. That doesn’t mean having all the answers, but having an awareness of how to take care of yourself and your project in the long term.
How do you see the Danish and Nordic music scene differing from the international one when it comes to debut artists and bands? And in what ways does the Danish scene resemble the international one?
The Danish and Nordic music scene differs from the international scene in that there is a strong acceptance and pride in singing in one’s own language. This often gives projects a strong identity and a clear cultural foundation. At the same time, the overall quality is high, and many debut artists have access to good support opportunities.
Where the Danish scene increasingly resembles the international one is in the pace and expectations. Debuting artists are quickly expected to be professional, visible, and strategic, and the competition for attention is at least as tough as internationally.
What significance does performing on a platform like SPOT have for debut artists in terms of their further careers?
SPOT can be a crucial springboard. It’s a place where you can both be discovered and test your project in a professional setup. For many debut artists, it can open doors to booking, management, labels, and international networks.
Is there a particular SPOT performance that has made an impression on you? Why?
It has to be AySay’s performance in Store Sal in 2024. Seeing them go from the partner program to Lille Sal and later stand in front of a fully packed Store Sal over the years clearly shows how SPOT can help follow and support an artistic project in development. It wasn’t just a strong and emotional concert, but a moment where you could feel that a band had taken a real step forward – both artistically and professionally.
In addition to Kaylee Pearson, SPOT’s professional jury of 2026 consisted of Martin Midtbø Rokkones, Johannes Bruun, Kirstine Stubbe Teglbjærg and Jonas Elbrønd
Hvorfor sagde du ja til at være med i SPOTs Lyttejury?
Jeg sagde ja, fordi SPOT har haft stor betydning for både mig og de artister, jeg har arbejdet med gennem årene. Det er et af de få steder, hvor upcoming artister virkelig bliver lyttet til af både branche og publikum. At sidde i Lyttejuryen føltes som en mulighed for at give noget tilbage og samtidig være med til at forme, hvilke stemmer der får plads tidligt i deres karriere.
Hvad kendetegner ifølge dig en spændende SPOT debutant?
En spændende debutant er for mig en artist med stærk og kvalitetsbevidst musik, men også med tydelighed i projektet. De har styr på, hvem de er, hvorfor de laver musik, og hvorfor det netop nu giver mening for dem at spille på SPOT. Så en klar kunstnerisk retning og en fornemmelse af timing.
Hvordan balancerer du din personlige musiksmag med en objektiv vurdering af en artist eller et band?
Det er selvfølgelig ikke min personlige musiksmag som skal være målestokken. I stedet forsøger jeg at vurdere et projekt ud fra dets egne præmisser: om udtrykket er klart, om idéen er konsekvent, og om der er et reelt potentiale for udvikling.
Hvilke generelle tendenser har du observeret blandt årets ansøgninger, og hvad har overrasket dig i puljen af årets debutanter?
De fleste ansøgere, har i år meget høj kvalitet. Flere af artisterne virker meget professionelle tidligt i deres karriere. Det er virkelig fedt at se.
Hvad ser du som den største udfordring for nye artister, der forsøger at slå igennem i dag?
Synlighed og bæredygtighed. Der bliver udgivet enormt meget musik, og det er svært at trænge igennem nåleøjet. Mange nye artister forventes at være både kreative, strategiske, konstant tilstede og økonomisk selvbærende – det er et stort pres.
Hvilken musikalsk udvikling eller innovation håber du at se fra fremtidens debutanter?
Jeg håber at se debutanter, der tør tage ejerskab over deres eget tempo og ikke føler sig presset til konstant at jagte det næste format eller den næste trend. Musikalsk innovation behøver ikke være noget helt nyt – det kan lige så vel ligge i fordybelse, kompromisløshed eller i at turde stå ved et personligt udtryk.
Hvordan har mental sundhed, bæredygtighed i projektet og ansvarlighed i musikbranchen spillet ind ift. dit juryarbejde med debutantansøgningerne?
Det har helt klart været en del af mine overvejelser. Jeg kigger efter projekter, hvor der er en form for balance og realisme i ambitionerne. Det betyder ikke, at man skal have alle svar, men at der er en bevidsthed om, hvordan man passer på sig selv og sit projekt i længden.
Hvordan ser du den danske og nordiske musikscene adskille sig fra den internationale, når det kommer til debuterende artister og bands? og hvor minder den danske scene om den internationale?
Den danske og nordiske musikscene adskiller sig fra den internationale ved, at der er en stor accept og stolthed omkring at synge på eget sprog. Det giver ofte projekterne en stærk identitet og et tydeligt kulturelt afsæt. Samtidig er kvaliteten generelt høj, og mange debutanter har adgang til gode støttemuligheder.
Hvor den danske scene minder mere og mere om den internationale, er i tempoet og forventningerne. Debuterende artister forventes hurtigt at være professionelle, synlige og strategiske, og konkurrencen om opmærksomhed er mindst lige så hård som internationalt.
Hvilken betydning har det for debutanter at optræde på en platform som SPOT i forhold til deres videre karriere?
SPOT kan være et afgørende springbræt. Det er et sted, hvor man både kan blive opdaget og teste sit projekt i et professionelt setup. For mange debutanter kan det åbne døre til booking, management, labels og internationale netværk.
Er der en særlig SPOT-optræden, der har gjort indtryk på dig? Hvorfor?
Det må være AySays optræden i Store Sal i 2024. At se dem gå fra partnerprogrammet til Lille Sal og sidenhen stå foran en fuldt pakket Store Sal over årene viser meget tydeligt, hvordan SPOT kan være med til at følge og understøtte et kunstnerisk projekt i udvikling. Det var ikke bare en stærk og emotionel koncert, men et øjeblik, hvor man kunne mærke, at et band havde taget et reelt skridt videre – både kunstnerisk og professionelt.
Ud over Kaylee Pearson bestod SPOTs professionelle jury i 2026 af Martin Midtbø Rokkones, Johannes Bruun, Kirstine Stubbe Teglbjærg og Jonas Elbrønd
