Trailblazers is an MBW interview series that turns the spotlight on music entrepreneurs with the potential to become the global business power players of tomorrow. This time, we meet Leander Kirschner, founder and CEO of Berlin-based independent music company Bamboo Artists. Trailblazers is supported by TuneCore.
Bamboo Artists CEO Leander Kirschner founded his first independent label when he was just 17 years old.
“That’s where my passion for working closely with artists and building something from the ground up really started,” the Berlin-based music executive and entrepreneur tells us.
Kirschner has worked in various positions across the tech and music industries over the past 14 years — at companies like Spotify, Uber, and Amazon, and as “a deep-tech venture builder” where he says he “gained a deeper understanding of the technology space”. He also worked as an A&R at Universal Music.
“All of these experiences came together when I launched Bamboo Artists almost four years ago,” he says. “My vision was to create a new kind of label and publishing company, one that focuses on serving the needs of artists and authors, while offering a full-service approach.
“At the same time, I wanted it to operate with the efficiency you see in tech companies — smart teams, strong processes, and relentless execution, all combined with best-in-class marketing.”
A couple of weeks ago, Bamboo-signed act Zartmann hit No.1 on the German Singles Charts with tau mich auf, marking “a huge milestone” for the company four years after its launch.
The track is currently at No.3 on the German Singles chart following its peak at the chart summit last month, and is one of four Bamboo-released tracks currently in the Top 100 in Germany – the world’s fourth largest recorded music market .
Commenting on the ambition for Bamboo Artists when he launched the company four years ago, Kirschner explains that “from the outset, we aimed to position Bamboo Artists as a real alternative to what already exists”.
He adds: “The ambition was always huge — we were confident that we could offer a better service than what was available in the market, by strongly focusing on the artists needs. The goal has always been clear: provide superior service to artists and help them build incredible careers.”
Bamboo’s successful first few weeks of 2025 have followed a year (2024) in which five of the Top 100 albums and singles across the year in Germany were by Bamboo-aigned artists.
Bamboo also secured 18 of the Top 200 tracks in Germany on Spotify towards the end of 2024, another “major milestone” for the company, Kirschner tells us. “While our focus always lies on building long-term careers for artists, it’s still great to see that our hard work reflects in the numbers,” he says.
“Our strategy involves pulling every lever possible to maximize an artist’s career. There’s no single ‘secret sauce’. It’s a mix of many small improvements that accumulate to a strong performance growth, and I believe our approach differs from other labels.”
“Local stars can still cross borders and resonate with global audiences, even when the music isn’t in English.”
Leander Kirschner, Bamboo Artists
Bamboo’s success in the German market coincides with the rise of local artists and localized consumption of regional genres, i.e. “glocalization” (see Will Page’s LSE study).
As recently highlighted by Germany’s Recorded Music body the BVMI, citing Luminate data, 43% of the top 1,000 songs streamed in Germany in 2024 were by local acts.
Kirschner tells us that Bamboo “see[s] this trend strongly in Germany, where local content has a firm grip on the charts.”
He adds: “This is why having strong local labels that understand the cultural nuances and audience preferences is essential to staying competitive in the market.”
He adds, however, that “what’s fascinating is how localized songs are still able to break through internationally”.
Kirschner explains: “A great example is Friesenjung, a German track that didn’t just dominate locally, but spread across Europe and even made its way to South Korea, where idols created dance routines around it. This shows that while the music scene is becoming more localized in terms of chart-toppers, it’s not a barrier to international success.
“In fact, local stars can still cross borders and resonate with global audiences, even when the music isn’t in English.”
Here, Leander Kirschner discusses the challenges and trends in Germany’s recorded music market, Bamboo Artists’ positioning there, and his predictions for the future.
How is Bamboo Artists positioned in Germany, the GSA region, and in wider Europe?
Bamboo Artists started in the GSA region, which is where we are best known. Almost everyone in the music industry here has had some contact with us or our artists, as we’ve helped build several superstars over the past few years. In Europe, we’ve also had success with songs like Friesenjung and Around the World by Niklas Dee, which reached wider markets.
We’re also seeing our producers gaining traction with US-based artists, which is exciting. Although we came from a hip-hop background, which taught us the importance of building a strong community, Bamboo is now genre-open. We’re working with indie-pop acts like Zartmann, Ritter Lean, and Aaron and have a growing roster in dance music. Bamboo is now a full-service, multi-genre label, with one thing in common—outstanding talent in every genre we work with.
What other trends are you seeing in the market that we should know about?
Two key trends stand out. First, artists need to be more active than ever before. In the past, artists could disappear for long periods between albums, but now, it’s essential to stay present and continually engage with your fans.
You don’t have to skip holidays, but you should always be thinking ahead — what are your next steps? How can you make your tour or single release special?
“Dance music is becoming popular globally again.”
We’re seeing success with blending the digital and physical worlds by, for example, live-streaming exclusive release events, which gives fans — both near and far — a unique experience.
The second trend is the resurgence of dance music. It’s becoming popular globally again, even in markets like the US, where it had been quieter for some time. We’re focusing more on this genre as it continues to grow.
What are your predictions for the independent music sector’s share of the market versus the major record companies in 2025 and beyond?
The independent market share is definitely growing, which makes sense given the sheer volume of new music being released. Majors simply can’t work with every artist, so they’re increasingly focusing on superstars.
“Everyone has a role to play — we bring close connections with artists and market insights, while majors provide scale and power.”
But I also think there’s room for collaboration. Some of our artists are signed to Bamboo, but we partner with majors for distribution. Everyone has a role to play — we bring close connections with artists and market insights, while majors provide scale and power. I expect more of these hybrid models in the future.
What are the biggest challenges facing independent artists and labels today?
The biggest challenge is often financial. Building an artist requires taking risks, and many artists under-invest because they lack the capital. We’ve always been willing to reinvest the label’s earnings back into our roster and marketing, because real money is earned at the top, and the faster you can get there, the better.
Unfortunately, this is where some independent artists or labels struggle, and it’s completely understandable.
What are your views on the increasing interest in independent label and artist services globally?
It’s great that artists now have more options and can choose what works best for them. We’re seeing a growing number of artists gravitate towards independent labels because they often recognize the value of the detailed, close collaboration that these labels provide.
“Ultimately, it all comes down to the value you can offer as a label.”
Independent labels are typically more hands-on, and this approach can be highly effective for building long-term careers. More and more artists are choosing this personalized treatment over large advances offered by major labels, prioritizing long-term career growth over immediate financial gains.
Ultimately, it all comes down to the value you can offer as a label. Both sides—the artist and the label—should agree on clear goals and responsibilities. When everyone is aligned on what they need to deliver, it leads to better outcomes for everyone. It’s encouraging to see more artists happy with their choices, and it’s a positive sign for the industry as a whole.
Where are the biggest opportunities for the global music business within the wider GSA region?
The GSA region has always been open to international artists, and there are plenty of opportunities here. If you want to make an impact in this market, it’s crucial to collaborate with local people, play shows, and even produce music here. Germany, for instance, has excellent producers and songwriters, and studio rates are often more affordable than in other regions, making it an attractive place for music production.
“[The GSA] market that holds great potential both creatively and financially, and it shouldn’t be overlooked.”
The GSA market is also much larger than many people think, with some songs driven primarily by this region surpassing 100 million streams. You shouldn’t underestimate the potential here, especially considering the additional financial opportunities from airplay placements, which can significantly boost revenue.
It’s a market that holds great potential both creatively and financially, and it shouldn’t be overlooked. If you want to get more insights into the GSA market or collaborate, always feel free to reach out!
What advice would you give to executives impacted by redundancies, given recent news about layoffs in the music industry?
The layoffs are unfortunate, but I believe experienced executives still have plenty of opportunities in the industry. Many are already starting their own companies, which opens new doors for artists and others in the industry.
As an entrepreneur myself, I want to encourage everyone to take this moment to reflect on their skillsets, connections, and comfort with risk — maybe it’s the perfect time to consider starting your own company. The music industry always needs innovation, and now could be the chance to bring something new to the table.
“The music industry always needs innovation, and now could be the chance to bring something new to the table.”
At Bamboo, we are thinking of expanding to the US and are always looking for great talent, so feel free to reach out if you’re interested in joining us. The market goes through cycles — layoffs now, new hires later — and I’m confident that new opportunities will arise. I hope everyone impacted finds their next great adventure soon.
If there was one thing you could change about the music business, what would it be and why?
The music industry is constantly evolving. Power dynamics shift, and the market is always adapting to where the real value is, creating opportunities for newcomers.
So rather than changing anything, I’d say: if you have an idea, pursue it. If you know great artists, reach out to them. The music industry thrives on new ideas and connections.
Trailblazers is supported by TuneCore. TuneCore provides self-releasing artists with technology and services across distribution, publishing administration, and a range of promotional services. TuneCore is part of Believe.Music Business Worldwide
Article by:Source:
