United We Stream

United We Stream
Name	United We Stream
Formation	2020
Type	Nonprofit, streaming fundraiser
Headquarters	Berlin
Region served	Global

United We Stream United We Stream is a livestream fundraising and cultural programming initiative that emerged during the 2020 public health crisis to support nightlife, cultural venues, and creative workers in urban centers. The platform combined DJ performances, club culture, broadcasting technology, and charitable distribution mechanisms to mobilize resources within networks linked to festivals, arts institutions, and municipal cultural policies. It partnered with venues, public arts agencies, broadcasters, and philanthropic organizations to channel donations and visibility toward independent clubs, promoters, and performing artists.

History

United We Stream originated in response to the 2020 coronavirus pandemic and drew inspiration from earlier benefit broadcasts such as Live Aid, Farm Aid, and Red Nose Day while intersecting with scenes around the Berghain, Fabric (club), Ministry of Sound, Tresor (club), and Rex Club. Initial iterations were organized in collaboration with municipal authorities in cities associated with DJ culture like Berlin, London, New York City, New Orleans, and Mexico City. Founders and organizers included figures from the electronic music sector, cultural managers from institutions such as the British Council, Goethe-Institut, Institut français, and local venue coalitions linked to groups like Clubcommission Berlin and Music Venue Trust. Early streams featured artists and collectives from networks that included Carl Cox, Nina Kraviz, Richie Hawtin, The Chemical Brothers, and representatives from festival circuits like Glastonbury Festival, Tomorrowland, and Sonar Festival.

Mission and Objectives

United We Stream stated objectives combined emergency relief, cultural advocacy, and public engagement, aligning with agendas promoted by organizations including the European Commission, UNESCO, Local Government Association (UK), and municipal cultural offices in cities such as Amsterdam, Paris, Barcelona, and Vienice. Goals prioritized sustained funding for independent venues, stabilizing employment for technicians and artists affiliated with unions like BECTU, IG Metall (cultural sector), and venue coalitions modeled on Music Venue Trust and Clubcommission Berlin. Advocacy aims referenced policy frameworks from entities like the Council of Europe, World Health Organization, and national arts councils such as the Arts Council England and German Federal Cultural Foundation to argue for sector-specific relief measures.

Format and Programming

Programming combined continuous livestreamed DJ sets, panel discussions, artist residencies, and archival club broadcasts featuring performers affiliated with labels and collectives like XL Recordings, Warp (record label), Ninja Tune, Defected Records, Kompakt (record label), and venues such as Watergate (club), Output (club), Fabric (club). Broadcast platforms included partnerships with streaming services and broadcasters such as YouTube, Twitch, BBC Radio 1, NPR Music, Arte, and RA (Resident Advisor), while technical production involved companies like Ableton, Native Instruments, Pioneer DJ, and creative agencies tied to festivals including Coachella, Pitchfork Music Festival, and Mutek. Curatorial strands often invited cultural figures associated with institutions like MoMA, Tate Modern, Centre Pompidou, The Barbican Centre, and Lincoln Center to host talks and debates.

Fundraising and Impact

Fundraising mechanisms mixed direct donations, merchandise sales, ticketed livestreams, and stimulus-style grant distributions routed through charitable entities, municipal funds, and arts foundations such as the Wellcome Trust, Ford Foundation, Open Society Foundations, National Endowment for the Arts, and regional development agencies like Creative Europe. Impact assessments referenced independent studies and reports produced by think tanks and research centers including Nesta, European Cultural Foundation, RAND Corporation, and academic units at Goldsmiths, University of London, Berlin University of the Arts, and New York University to quantify funds disbursed and jobs supported. Redistribution models aimed to address venue rent, payroll for technicians, and music production expenses for artists previously touring with festivals like SXSW and Sónar.

Geographic Expansion and Local Chapters

United We Stream expanded through localized chapters and editions in global cities, spawning programs in Buenos Aires, São Paulo, Cape Town, Seoul, Tokyo, Toronto, Melbourne, Lisbon, Dublin, and Istanbul. Local chapters partnered with city cultural offices, venue coalitions, and festivals including Lollapalooza, Rock in Rio, Primavera Sound, Awakenings, and Dekmantel to tailor fundraising and programming to municipal legal frameworks and cultural networks represented by universities and conservatories like Berklee College of Music, Conservatoire de Paris, and Royal College of Music.

Partnerships and Collaborations

The initiative worked with media partners such as Mixmag, Resident Advisor, The Guardian, The New York Times, and Rolling Stone alongside public broadcasters including ZDF, ARTE, CBC, and Rai. Corporate and philanthropic collaborators included technology firms and payment processors such as PayPal, Stripe, and Spotify as well as foundations and trusts like Bloomberg Philanthropies and Garcia Family Foundation. Collaborations extended to artist collectives and unions such as Musicians' Union (UK), AFM (American Federation of Musicians), and cultural NGOs like Independent Venue Week and IETM.

Criticism and Controversies

Critiques addressed transparency in fund allocation, comparisons to broader relief schemes like those administered by National Endowment for the Arts and municipal emergency funds, and debates about sustainability versus episodic aid raised in policy fora such as European Parliament hearings and reports by watchdogs like Transparency International and Amnesty International concerning labor practices in the creative sector. Controversies involved disputes with venue landlords in cases referenced by local press outlets including Der Spiegel, The Guardian, Le Monde, and The New York Times over accountability, as well as tensions with artist unions and campaign groups such as Musicians' Union (UK) and BECTU about prioritization and long-term structural reforms.

Category:Music organizations Category:Charitable organizations