The concert at the skate scene was a bit messy and short. The sound was not that good either. So for people who know Reptile Youth it was a bit confusing to see them at the skate scene. We had a chat with Mads Damsgaard about the performance and their collaboration with RedBull.
What was your experience of the concert Monday at the skate scene?
It was a quiet tough experience because we had REALLY been looking forward to this. And everything was planned and ready for us playing one of our best concerts ever. But because of structural building failure at the stage roof and a very pressured music program we ended up only playing half time of what we had prepared. And without no monitor at all. And our sound guy was not able to make any sound in the front of the stage before the concert was playing. I went off the stage with a feeling of not getting out with half the feelings I had inside. But the audience was kind. There was a lot of love. And sometimes it can be an exciting energy with everything in totally panic.
You played at Pavilion junior in 2011, how was it to move from there to the skate scene?
Actually we also played at Cosmopol on a cancelation in 2012. It is always amazing playing at Roskilde Festival. The audience has a special energy. It is like the people who would be on a venue in Copenhagen with their arms crossed is losing up and are letting go of their facades when they are at Roskilde Festival. Roskilde Festival is the community in the community where you are able to live in another part of yourself. It is some of that which makes it magical. I have felt the same frankness in every one of the three concerts we have been playing at Roskilde Festival. It is not about the stage or the time.
It was a quite different performance at the skate scene – why was that?
Because of heavy rain and a roof that wasn’t build good enough, there were a lot of electronics that were broken, including the monitor disk. And a lot of music equipment. So there were a lot of things taking much more time than it should’ve. And there can only be music at the skate scene until 00:00. It was especially aggravating for Benal, they were supposed to perform their Roskilde debut right before us, but they were cancelled. That must’ve been so annoying.
You have made a collaboration with RedBull. What kind of influence does it have on your carrier?
I think that all things that create synergy are a good thing and our collaboration with RedBull Music Academy is very good. We have played four concerts which have been arranged in collaboration with RBMA, the last one here at Roskilde Festival. In general are RBMA working with culture in a very progressive way and they are working with musicians from all over the world on the precondition of the musicians. I also think that’s why Roskilde Festival has been letting Redbull in as one of the few corporate brands.
Do you think that the collaboration has changed the kind of audience you have – is RedBull raising a different kind of audience than you would do at a normal concert?
I hope that there are new people at every one of our concerts no matter if it is RedBull or any other kind of cultural operator who is presenting. What we are making is so that everybody can feel it and it should hopefully be an organic movement. Like a ripple effect. And the RedBull live concerts have with that philosophy definitely been given a lot of new people the possibility to feel us.