In a world where politics, diplomacy, and institutions often fall short, music emerges as the true catalyst for change. We were fortunate enough to witness this transformative power just a few weeks ago at Balkan:MOST Festival, held in the historic Hungarian city of Veszprém against the stunning backdrop of Lake Balaton.
Over three electrifying musical days, Veszprém burst to life with vibrant sounds and rich cultures from the Balkans and beyond, defying the historical divisions of the region. Balkan:MOST, where ‘MOST’ translates to ‘bridge’ in Slavic languages, flawlessly fulfilled its mission of bridging communities, styles, and traditions. The festival was a unique amalgamation of an expo featuring conferences, workshops, and round tables; a lively music festival with dozens of showcases and gigs; and a heartwarming community gathering that embodied its multifaceted nature.
The origins of the Balkan:MOST project can be traced back to 2019 when Hangvető took the helm. Their primary objective? To introduce Balkan music, spanning traditional and contemporary styles from sevdah to electro-minimalism, folktronica to body music, ethno-jazz to dubstep, muzica lăutărească to indie-rock, and much more to a global audience. This ambitious project united over 30 bands, nearly 80 managers, agents, promoters, music professionals, and 60 festivals, clubs, and cultural centers, culminating in the grand finale held in early September.
A grand finale that illuminated the European Capital of Culture in 2023 with three days of Balkan, Eastern and Southern European, and Mediterranean music. From the Castle Square to the heart of the Old City and the scenic backyard of Foton, the city’s audio-visual centre, the festival’s stages hosted an array of captivating performances.
The musical journey through the Balkans began on Thursday evening, figuratively and musically transporting us to Skopje, the hometown of the quartet (trio for the occasion) Perija. Skilfully blending Macedonian traditional music with Middle-Eastern maqam, North-African scents, post-folk, atonality, and ethno-jazz, they took the stage. Singing in various Balkan languages, their lyrics draw inspiration from social issues, contemporary poetry, and ancient village songs, delivering a compelling and thought-provoking performance.
Just minutes later, at the Foton stage, the enchanting PJEV, a female a cappella quintet from Zagreb, celebrated the vocal traditions of Serbia, Croatia, Bosnia and Herzegovina. Their harmonious fusion transcended borders and music eras, emphasising the unity and shared heritage of these nations while countering divisive rhetoric.
Veszprém’s central square burst into vibrant life with the eclectic and dynamic performance led by Neapolitan artist Daniele Sepe and his exceptionally talented band. Their revolutionary jazz stylings captivated the audience, reaffirming that music and dance know no bounds.
Meanwhile, over at Foton, E.U.E.R.P.I., the guitar drone ambient project by Mirian Kolev, transported listeners into a minimalist, visionary, and subtly psychedelic realm through a live performance that wove a unique tapestry of sound.
On a different note, at the Castle Stage, the Barcelona Gipsy Klezmer Orchestra showcased their virtuosic skills by blending Gipsy, klezmer, and Balkan music, creating a vibrant, foot-tapping, and dance-inducing experience.
Then, without much time to rest after the high-energy performance by BGKO, the main square came alive again with Corina Sîrghi, accompanied by Taraful Jean Americanu, who transported the audience back in time to Bucharest during the interwar period. Their music bridged the gap between the city’s historical eras, with a mix of passionate romances, sultry tangos, fiery lăutar dances, and raucous manele classics.
Closing out the festival’s opening night, Poklade Band took the stage, delivering an electrifying performance of Pan-Balkan folk classics that ignited a collective dance frenzy and immersed the audience in the very essence of Balkan culture.
As the weekend unfolded, Balkan:MOST continued to enchant attendees with a captivating lineup of diverse musical acts. On Friday evening, the program kicked off with a duo hailing from the Rhodope Mountains of Bulgaria, Flying Nomads. Their music seamlessly blended traditional and modern elements, as well as Eastern and Western European influences. They skilfully combined instruments like the Bulgarian tambura and the Iranian daf with the guitar, ukulele, bendir, and more, creating a musical tapestry that bridged cultures.
Shortly after, the stage was ignited with the enthralling gypsy vibes of the French group La Caravane Passe. From their classic “Gipsy for One Day” to their latest releases such as “Insulaire” and “Maria Kalash,” the band embarked on a musical journey through the Southern and Eastern corners of Europe, creating a unique fusion of global beats.
Meanwhile, in the Castle Square, fans of Dubioza Kolektiv, the Bosnian musical phenomenon, gathered in large numbers to witness their electrifying performance. They were all decked out in the unmistakable black and yellow colours that have become synonymous with the band. Renowned for infusing their spirited Bosnian energy into diverse styles like dub, punk, ska, and hip-hop, Dubioza Kolektiv demonstrated that they were as ageless and incendiary as ever, celebrating their second decade on global stages.
On the other side of the Old Town, the Main Square hosted Naked, a band deeply rooted in the intricate history of ex-Yugoslavia. They delivered music that was both exhilarating and soulful, characterised by unwavering honesty. With a blend of instruments like the violin, saxophone, and clarinet, they crafted a diverse global urban sound, melding elements of swing, funk, bebop, psychedelic dub, free-jazz, and hints of Mediterranean, African, and Eastern European traditions.
The night continued with a performance by the Bulgarian institution, Oratnitza, at the Castle Stage. Despite some travel delays, they won over the hearts of the audience with their fusion of Bulgarian folk melodies, Orthodox-style chanting, world music, hip-hop, dubstep, trap, and irregular rhythms. Oratnitza reimagined traditional Bulgarian songs with their unique “ethno-bass” sound.
As Friday night drew to a close, DJ Sabs took the reins, offering a musical journey that spanned roots and hybrid music before transitioning into a wide range of Balkan-inspired pop, from punk to disco. To conclude the night, Mumush Festival booker Jozsef Halmen delivered an eclectic and bass-heavy DJ set that kept the energy alive into the early hours.
On Saturday, the excitement for Manu Chao’s late evening performance was palpable, yet the day was brimming with more highlights. Alice in WonderBand, an artistic duo melding Balkan tradition with body music and percussion, captivated the audience with their lively and rhythmic show. Their set traced a vibrant path through the region’s sonic heritage, rooted in rhythm, movement and the expressive potential of the human body.
Meanwhile, on the Castle Stage, Macedonian vocalist Zarina Prvasevda wove together Macedonian and global folk traditions, drawing on nature, history and a wide range of cultural influences. Her set offered a distinctive take on traditional music, delivered with clarity, depth and a strong sense of place.
From Macedonia, the festival shifted across to neighbouring Albania, where Italy-based duo Shkodra Elektronike reimagined the traditional music of their hometown through a bold electronic lens. Their set revitalised archival sounds with sharp, contemporary textures, reflecting both the continuity and adaptability of Albanian cultural identity.
A short while later, Marina Satti, a rising star influenced by her Greek and Sudanese roots, graced the Old Town Stage with her contemporary urban sound. Her unique blend of electronica, R’n’B, and age-old vocal tradition, enriched by Balkan polyphony and Greek choirs, created an irresistible musical experience.
The grand finale of the three-day event came with an electrifying acoustic set from the legendary Manu Chao, joined by guitarist Lucky Salvadori and percussionist Miguel Rumbao. Stripped back but full of energy, the trio delivered a crowd-lifting performance that moved freely across decades and borders—from the raw pulse of Mano Negra to the anthems of Radio Bemba Soundsystem and the reflective groove of La Vida Tombóla.
To conclude the festival, Lenhart Tapes unleashed a boundary-pushing analogue set, blending field recordings, spoken word and traditional music into a dense, cinematic soundscape. Featuring powerful vocal performances from master folk singer Svetlana Spajić, the set captured the essence of Balkan:MOST—an ode to cultural exchange, collaboration and the enduring connective force of music.
