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 Vill Vill Vest’s Martin Midtbø Rokkones
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Why did you say yes to being part of SPOT’s Listening Jury?
I said yes because this is a unique opportunity for me to get an overview of Danish music in 2025. So much exciting music is happening, and there are few other places where you get this kind of insight into a national music environment like through a listening jury. Additionally, listening to music is my favorite activity, so it didn’t take much to convince me.
What, in your opinion, characterizes an exciting SPOT debutant?
For me, an exciting SPOT debutant is one that feels like lightning from a clear sky. Something unexpected, but with a clear identity in the music and a well-executed live show.
How do you balance your personal music taste with an objective assessment of an artist or band?
In a jury process, it is of course important to keep personal preferences and “objective” assessments side by side. That’s why it’s important to look at the whole artist project. Additionally, I personally work to constantly challenge my own taste. It’s important for me to listen to most genres in order to compare, form an opinion, and have a sense of where the genre stands and which new projects are exciting and challenging within their field.
What general trends have you observed among this year’s applicants, and what has surprised you?
I was surprised by how many time their releases to coincide with SPOT. This is largely an indicator of how important a festival like SPOT is for the Danish industry — whether you are a signed artist with label and management support or independent and underground. SPOT is a nexus, and it’s inspiring to see how much work goes into all the applications.
What do you see as the biggest challenge for new artists trying to break through today?
Economics is probably still a challenge. It can take a long time before an artist project becomes financially sustainable — even when it is popular. Additionally, there is a fight for attention and an increasing demand for presence across various platforms, where a lot of resources are spent on “content.” At the same time, there is a risk that diversity in music gets flattened in an algorithm-driven music world.
What musical development or innovation do you hope to see from future debutants?
I think it’s a very exciting trend that local traditions (language, genres, instruments, etc.) are becoming popular again, and I hope this continues. Additionally, I hope that music media and organizers help support such trends and dare to make bolder curatorial choices.
How have mental health, sustainability in the project, and responsibility in the music industry played into your jury work?
For me, it’s about timing. What are an artist’s prerequisites for getting something out of performing at SPOT? This will of course vary from artist to artist and be affected by age, setup, how far the artist is in their career, etc. As a juror, it’s important to consider whether it’s the right year for an artist to play at SPOT — or if it might be better to wait until next year.
How does the Danish and Nordic music scene differ from the international one when it comes to debuting artists and bands, and where does it resemble the international scene?
Debuting musicians in the Nordics generally have access to support schemes, professional venues, and resources that make it possible to release music, get their first gigs, and be discovered early. It’s also exciting to see how a sort of post-pandemic language development is happening among Nordic artists, who are increasingly returning to and further developing their own languages.
What significance does performing on a platform like SPOT have for debut artists’ careers?
SPOT is a very important platform for debuting artists because it is a centralized platform where all parts of the music industry are present, while many artists also gain a foundation of audience support. SPOT and the city of Aarhus show themselves at their best, and I find that the audience is curious, engaged, and energetic every year, which makes me very happy in what can otherwise sometimes be a rather gray time.
Is there a particular SPOT performance that has made an impression on you? Why?
There are really far too many to choose from, but one that truly made an impression was Debbie Sings. I hadn’t heard her music and went to the concert solely based on her name and a killer press photo. It was amazing to come in with no expectations and be completely blown away by an artist who was so confident in her expression, so strong on stage, and with a completely unique sound. Definitely one for the history books.
In addition to Martin Midtbø Rokkones, SPOT’s professional jury of 2026 consisted of Jonas Elbrønd, Kaylee Pearson, Johannes Bruun and Kirstine Stubbe Teglbjærg
Lige fra begyndelsen er SPOT blevet skabt som en festival for at opdage ny musik. Og hvis der er én ting, der kan sætte gang i en debat, så er det morgendagens toner. At udvælge de debuterende kunstnere, der præsenteres hvert år, er ingen lille opgave – derfor er det et panel bestående af fem erfarne brancheeksperter, der tager udfordringen på sig. I denne artikelserie kan du møde juryen bag årets udvalgte debutanter – og finde ud af, hvem du kan takke, når du opdager din næste yndlingskunstner til maj!
Mød Vill Vill Vests, Martin Midtbø Rokkones
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Hvorfor sagde du ja til at være med i SPOTs Lyttejury?
Jeg sagde ja, fordi dette er en unik mulighed for mig for at få et overblik over dansk musik anno 2025/26. Der sker utrolig meget spændende, og der er få andre steder, hvor man får denne type indsigt i et nationalt miljø som gennem en lyttejury. Derudover er det at lytte til musik også min yndlingsaktivitet, så der skulle ikke meget til at overtale mig.
Hvad kendetegner ifølge dig en spændende SPOT debutant?
For mig er en spændende SPOT-debutant én, der føles som lyn fra en klar himmel. Noget uventet, men med en tydelig identitet i musikken og et gennemført liveshow.
Hvordan balancerer du din personlige musiksmag med en objektiv vurdering af en artist eller et band?
I en juryproces er det selvfølgelig vigtigt at kunne holde personlige præferencer og “objektive” vurderinger side om side. Derfor er det vigtigt at se på helheden i et artistprojekt. Derudover arbejder jeg personligt med hele tiden at udfordre min egen smag. Det er vigtigt for mig at lytte til de fleste genrer for at kunne sammenligne og have en mening og en fornemmelse af, hvor genren befinder sig, og hvilke nye projekter der er spændende og udfordrende inden for deres felt.
Hvilke generelle tendenser har du observeret blandt årets ansøgninger, og hvad har overrasket dig i puljen af årets debutanter?
Jeg blev overrasket over, hvor mange der timer deres udgivelser op mod SPOT. Det er i høj grad en indikator på, hvor vigtig en festival som SPOT er for den danske branche — uanset om man er signet artist med label og management i ryggen eller independent og underground. SPOT er et knudepunkt, og det er inspirerende at se, hvor meget arbejde der ligger i alle ansøgningerne.
Hvad ser du som den største udfordring for nye artister, der forsøger at slå igennem i dag?
Økonomi er nok stadig en udfordring. Det kan tage lang tid, før et artistprojekt bliver økonomisk bæredygtigt — selv når det er populært. Derudover er der en kamp om opmærksomheden og et stadig større krav om tilstedeværelse på forskellige platforme, hvor mange ressourcer bruges på “content”. Samtidig er der en risiko for, at diversiteten i musikken udviskes i en algoritmestyret musikverden.
Hvilken musikalsk udvikling eller innovation håber du at se fra fremtidens debutanter?
Jeg synes, det er en meget spændende tendens, at lokale traditioner (sprog, genrer, instrumenter osv.) bliver populære igen, og jeg håber, det fortsætter. Derudover håber jeg, at musikmedier og arrangører er med til at understøtte sådanne tendenser og tør træffe mere markante kuratoriske valg.
Hvordan har mental sundhed, bæredygtighed i projektet og ansvarlighed i musikbranchen spillet ind ift. dit juryarbejde med debutantansøgningerne?
For mig handler det om timing. Hvilke forudsætninger har en artist for at få noget ud af at spille på SPOT? Det vil selvfølgelig variere fra artist til artist og være påvirket af både alder, setup, hvor langt artisten er i sin karriere osv. Som jurymedlem er det vigtigt at overveje, om det er rigtigt for en artist at spille på SPOT i år — eller om det måske er bedre at vente til næste år.
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?
Debuterende musikere i Norden har i høj grad adgang til støtteordninger, professionelle spillesteder og ressourcer, som gør det muligt at udgive musik, få de første koncerter og blive opdaget tidligt. Derudover er det spændende at se, hvordan en slags post-pandemisk sprogudvikling finder sted blandt nordiske artister, som i højere grad vender tilbage til og videreudvikler vores egne sprog.
Hvilken betydning har det for debutanter at optræde på en platform som SPOT i forhold til deres videre karriere?
SPOT er en meget vigtig platform for debuterende artister, fordi det er en samlet platform, hvor alle led af musikbranchen er til stede, samtidig med at mange artister får et publikumsmæssigt fundament. SPOT og Aarhus som by viser sig fra deres bedste side, og jeg oplever, at publikum hvert år er nysgerrige, engagerede og energiske, hvilket gør mig meget glad i en ellers til tider lidt grå tid.
Er der en særlig SPOT-optræden, der har gjort indtryk på dig? Hvorfor?
Der er virkelig alt for mange at vælge imellem, men én, der virkelig gjorde indtryk, var Debbie Sings. Jeg havde ikke hørt hendes musik og gik til koncerten udelukkende baseret på navnet og et megafedt pressebillede. Det var fantastisk at komme uden forventninger og blive fuldstændig blæst bagover af en artist, der var så sikker i sit udtryk, så stærk på scenen og med en helt unik lyd. Helt klart én til historiebøgerne.
Ud over Martin Midtbø Rokkones bestod SPOTs professionelle jury i 2026 af Jonas Elbrønd, Kaylee Pearson, Johannes Bruun og Kirstine Stubbe Teglbjærg
