written by Manfred Tari, music journalist

Generative AI drives the compilation of personalized playlists and eventually even appears to be helpful in discovering new artists, yet algorithm domination is not complete and there is still a pocket of mindfulness left. The style and attitude of music curators can still decide what will be seen or heard.

Unless you’re the kind of person who trusts restaurant reviews compiled and written by an AI-Bot, that is.

Whatever the case, here are industry insights by four experienced music curators, sharing their knowledge of how curation is handled nowadays. These expert curators are Cindy Castillo from Mad Cool (ES), Seth Dodson for Pitchfork Festivals (US), Gianfranco Raimondo of Ypsigrock Festival and Huw Stephens at BBC 6. 

“When featuring or booking an artist, I consider a mix of factors: their current impact, unique sound, live performance energy, and how they fit with the overall theme of the event. I look for talent that connects with the audience on a deeper level”, says Cindy Castillo. 

For Seth Dodson, the booking of artists at Pitchfork, it's “A balance of honouring our legacy while pushing into new territory. I look for artists making waves in microgenres or scenes that feel relevant to the moment but also bring something fresh or experimental.”

Dodson adds: “Underground artists with strong followings on platforms like Bandcamp or TikTok often catch my eye, but it’s not just about buzz - it’s about innovation and cultural timing. Authenticity is key for me, and I want to ensure that every artist we feature in a live event feels aligned with Pitchfork’s long-standing focus on artistic credibility and integrity.”

Gianfranco Raimondo explains: “Initially I simply go by my feelings for a particular artist or band I’ve heard, not whether they are famous or not, I then share my ideas with the festival staff, we discuss things together and reach a decision one way or the other. When the feelings are generally positive, we decide to engage the artist.”

For Huw Stephens it boils down to: “Do I like them, and do I think the artist will bring something fresh and different to the line-up? Is there something about the artist that’s different from the rest of the line-up, and will it compliment the other artists? Time is short and not everyone will stay for the full line up, so it’s sometimes good to change things up.”

Reflecting on how the creative process of curation has changed, Castillo says: “Yes, the creative process of curation has evolved. Now, there’s a stronger emphasis on data research alongside recommendations from colleagues, industry experts, and media reviews. These help to create a balanced, informed approach that blends instinct with insights.”

Mostly in line with Castillo, Raimondo considers: “Data research, media reviews, audience and viewing statistics are no doubt vital nowadays. However, this approach leads to festivals having similar line-ups. I believe that the key to being more creative is to not pay so much attention to impersonal data, but to adopt a more personal approach.”

“Curation has definitely evolved, especially with more collaboration among our teams and the use of data”, argues Dodson, but for him, it’s still about “creating a narrative in our festival line-ups. I want our events to feel like they tell a cohesive story, with each artist contributing to a larger vision.”

Stephens thinks that “it has become more competitive to gain these slots. There’s less focus on human curation and more on stats and figures, and who the bands are working with. That’s why smaller independent festivals and curated festivals need to thrive, so that interesting music is brought to an audience.”

It’s hard to deny that curators set trends and are ahead of their time. Looking forward to the new year, Castillo expects to see more cross-genre collaborations and a continued push towards immersive, experience-based music events in 2025. “Audiences are leaning towards authenticity, so music that feels personal and experimental should resonate more with listeners.”

“Music is very different from the ROG trade or other sectors that follow current trends”, Raimundo concludes. “The creative artist process shouldn’t simply follow trends.”

“In 2025, I think we’ll see even more fragmentation into microgenres, but audiences will continue to crave unique venues and experiences”, says Dodson. “While hyper fandoms around niche genres are growing, there’s also a strong exploratory streak - people want to discover new sounds and scenes. I hope our festivals keep tapping into that sense of adventure, offering fresh experiences in unconventional spaces.”

As another major trend, Dodson expects the rise of independent artists and DIY platforms: “With digital platforms and social media empowering artists to reach global audiences without traditional industry gatekeepers, the DIY ethos is only getting stronger.”

Stephens instead cuts the story short, saying: “Oasis are back, I wonder if indie music and indie rock might make a comeback?!”