The ‘Nowruz Party’ festival, which featured prominent artists from various music genres of Iran, took place on March 16th at Rich Mix in London. The presence of renowned contemporary Iranian female artists in this festival was one of the notable aspects that added to the significance of the program. In this festival, performances were witnessed by Emma, an Iranian singer and songwriter based in Vienna, with her EDM duo, EXEA, and Golsa, a singer and songwriter based in Tehran, accompanied by Sardar Sarmast, a member of the rock band 127, and Reza Farhadi, a producer and bass player. Additionally, Saeed Aman, an Iranian-Italian electronic musician and co-founder of the music band BowLand, and Azim Fathi, an Iranian DJ, performed music sets. To mark the occasion of this festival, we spoke with Hesam Garshasbi, the founder of Vaak Records and the organizer of this festival, and Saeed Aman about the current status of alternative music in Iran.
Photo: Ali Zamani
Hesam Garshasbi: Yes, that’s entirely accurate. Every year on the eve of Nowruz, more than anything else, we witness the organization of programs defined by mainstream or pop culture. We’ve been and continue to be witnesses to these events, not necessarily their audience. It can be said that alongside this mainstream approach, we have, from the past, alongside people like ourselves, created our own space and celebrated Nowruz within it. Now perhaps it can be said that this space is expanding. (Something that, with the nature of Nowruz as a celebration for all ethnicities and tastes, has complete coordination.) As we even recently see, some mainstream media outlets outside of Iran are paying more attention to music streams outside of the mainstream of Iranian music.
My main concern has always been “freedom of expression in Iranian music.” In other music scenes globally, there are specialized music publishers or concert organizers catering to non-mainstream, indie, or underground music. Their focus is usually on artistic experimentation, which can lead to new trends diverging from the mainstream, a savvy strategy in the competitive music market. These alternative trends may eventually become mainstream themselves, finding broader audiences. However, for individuals like me who have encountered restrictions and censorship from a young age, the paramount issue remains freedom of expression in music.
This challenge is particularly acute for Iranian female musicians, making it a top priority to create opportunities for them. Additionally, we’ve cultivated a distinct niche audience, and I’m continually amazed by the positive reception our concerts receive. This growing support emboldens me to take risks by featuring promising artists in our programs rather than sticking to established ones.
Our selection of musicians for the “Nowruz Party” is influenced by several factors outlined in my previous responses. We aimed to curate a celebration aligned with our musical tastes, distinct from the mainstream events often found in multicultural cities like London. Furthermore, we sought artists who lack opportunities to perform in Iran and those whom we believe possess untapped potential to thrive in the music industry. I must emphasize that I am not alone in this path and I have colleagues without whom these programs would not be possible. Especially the “ArtStage” group, which has been a strategic partner in the publication of Vaak Records in the past two years. Part of the answer to the question of why we chose these musicians for the “Nowruz Party” is in my previous answers.
Another concern is fostering interaction between Iranian musicians and those from other countries. In recent years, I’ve observed a tendency for both Iranian musicians and their international counterparts to remain within their respective bubbles. This contrasts with the cultural exchange seen among artists of other nationalities in diverse cities like London, where they actively introduce their music and art to different cultures, thereby expanding their audiences.
Photo: Hydar Dewachi
Photo: Hydar Dewachi