Champagne! Live@BIRD is assured a place in the Cultural Plan for the next four years. But where does BIRD actually want to go in the future? And what is the value of the past? We talk about it with Hugo Dirkson and Nina Draaijers.

How did you start with BIRD?

Hugo: I had my own foundation: Jazzpodium Rotterdam, which is still the foundation name behind Live@BIRD, by the way. I felt that there was a lack of jazz and groove-based concerts in our city. There was mostly traditional jazz. I met Philip Powel at WATT, just like Guido van Dieren. When Philip told me what he was planning with BIRD, it seamlessly matched what I had in mind. We were all doing something different, but with the same goal. Philip organised the club nights, Guido concerts (including jazz) and I took care of talent development. Then we joined forces and wrote a policy plan, which got us into the Cultural Plan 2013 - 2017.

Nina: At the end of 2013, I started as an intern in production and programming under Hugo at Live@BIRD and now I've been the business director for three years. Since my internship, I've had a lot of freedom at Live@BIRD, allowing me to make great strides. This is a good example of how things go with us; there are more people who have stayed after their internship and grown within Live@BIRD.

Hugo:
"When Philip told me what he was planning with BIRD, it seamlessly matched what I had in mind!"

Hugo Dirkson is the former director and current board member of the Live@BIRD foundation. Along with director Philip Powel (BIRD BV), he got BIRD included in the Cultural Plan at its inception in 2011. Additionally, he is a long-time jazz programmer and connoisseur.Photo: Jeroen Brokkelkamp

What is so unique about BIRD?

Hugo: BIRD has a strong programme in a great atmosphere. In terms of setting, there are very few clubs and venues where the connection between musicians and audience is as pure as in BIRD. This makes it very special not only for the audience but also for the artist. When we started, there was no place like BIRD for this type of music. In terms of programming, BIRD also has a very strong signature. The programmers know the target audiences like no one else and can perfectly find the right artists. Talent is given so much room to blossom at BIRD.

Nina: BIRD has a live programme, is a club and a restaurant, but feels like one. All aspects within BIRD flow seamlessly into each other so that there are no real distinct divisions. Everything comes together at BIRD, unique if you ask me.

If you could describe the real BIRD feeling through a concert, which one would you choose?

Hugo: I've experienced a lot of great moments at BIRD, but ‘The Robert Glasper Experiment’ by Robert Glasper during the first Boogieball at BIRD in 2011 has always stuck with me. BIRD wasn't finished yet, renovations were still in full swing. We built the stage in the middle of the room, creating a 360 degrees music experience. Additionally, there were rumours that Prince would perform, but that's beside the point. Robert Glasper's band started a groove, the room went silent, and there was a collective vibe. Everyone found themselves in a special, magical, almost spiritual mindset. Incredible! Everything came together at that moment, and that was exactly what we envisioned with BIRD.

Nina: For me, it was a Slowthai concert. BIRD went absolutely wild then! Everyone was engrossed in his music and the audience knew it was very special. The enjoyment in the air was almost palpable, everyone realised it. And of course, the first few editions of Boogieball were very special, with Snarky Puppy arriving much too late due to a late performance at North Sea Jazz. I experienced my first Boogieball at the end of my internship, which was a brilliant chaos of partying people, unprecedented.

BIRD was included in the Cultural Plan from the beginning. Extraordinary! How did that happen?

Hugo: When BIRD was getting off the ground, we quickly decided that Live@BIRD should be included in the Cultural Plan. At that time, there were cutbacks, and we were told that no new institutions could be included in the Cultural Plan. Naturally, we didn't let it rest, we took a bold step and made an application anyway. Advisors from the municipality made a shortlist, in case the city council changed their minds. Live@BIRD was at the top of the list, and the rest is history.

Nina:
"A brilliant chaos of partying people, unprecedented."

Nina Draaijers is the business director of the Live@BIRD foundation. This native of Rotterdam studied General Cultural Sciences and subsequently completed a master's in Cultural Economics and Entrepreneurship. Nina D. has been involved with Live@BIRD from an early stage: she once interned with Hugo.Photo: Beckand Photography

Looking at BIRD from the beginning to now, what changes and developments do you see?

Nina: BIRD has remained essentially the same. Over the years, you've learned to articulate BIRD better and communicate it more clearly to the outside world. Another positive point is that the Live@BIRD foundation has been able to make a professionalisation step thanks to subsidies, allowing us to take better care of the entire organisation. This makes us stronger as BIRD. Finally, you notice that BIRD has grown into a place that is now indispensable in the city.

What will the coming years look like?

Nina: Our goal can be divided into three parts. We want to strengthen and expand our current concert programming. In addition, we want to further professionalise our organisation. The fair-pay budget makes this possible. This way, we can offer more hours and a better salary, and we will work even more on talent development. BIRD is the place for talent to gain professional stage experience. In the coming six months, the emphasis will mainly be on this, including Alternate Takes. This is a new corona-proof concept where local heroes and budding superstars get carte blanche in BIRD for an evening.