A commissioned article on how what many consider the oldest concert hall in the world connects with new audiences.
De Bijloke is an atmospheric music venue with a maximum capacity of 817 seats where you can experience everything from intimate jazz sessions to grand symphonic concerts. One of the bigger go-to stages in Flanders, it was part of a medieval hospital complex but has been functioning as a music venue since 1988 and was recently renovated in collaboration with the world-renowned team behind the Sydney Opera House.
Programming is critical to the success of many cultural organisations. Sven feels this is one of De Bijloke’s strengths. Sven continues: "We offer everything, from religious music that’s been around for centuries to contemporary pieces that were just completed. It’s unique to hear these performed in a medieval setting, but it also presents a challenge."
Shari chimes in: “Concerts here can feel intricate and layered, artistically. That’s why every performance tells its own story.”
The goal of this foundation? “We want to connect with our audience before they even enter the concert hall,” Shari explains. “To sense the performers' stories, their passions, and to step into their world—so that by the time the first note plays, they’re already emotionally invested.”Working on building emotional investment feels like a beautiful challenge for the team. Shari agrees, but notes that it requires a different approach. “It’s a workflow based on content creation and going deeper into storytelling, rather than setting up the digital infrastructure for it,” she says. That’s where CultureSuite comes in.
Shari and Sven work with websites every day, but that doesn’t mean they enjoy managing digital structures—not because they’re against digital tools, but because their focus is clear. “We’re a small but mighty team with a mission to create impactful experiences. The last thing we want is to get bogged down by technical issues,” Shari explains.
Sven is no stranger to storytelling. “I’ve always been drawn to the music itself, not the logistics of marketing it.” Both Sven and Shari, with years of creative experience at other cultural venues, know firsthand how rigid websites and digital platforms can limit a venue’s growth.
They both agree that CultureSuite frees them to focus their energy where it matters, while the platform handles the digital infrastructure. “I’ve worked with venues that had all kinds of platforms,” Sven shares, “and too often, I’d spend my whole day just figuring out the tech.”
Shari adds, “Juggling ticketing systems, linking pages, updating the website, managing event listings, and troubleshooting technical issues—those tasks consume your time before you can even start thinking about marketing.”
The partnership between CultureSuite and De Bijloke has roots that extend well before Sven and Shari joined the team, but it’s one they benefit from daily. “With the Peppered platform, it doesn’t feel like we’re wrangling tech—it feels like a tool we can use to make things work better for us,” they say.
Shari notes something else she values: “CultureSuite’s deep involvement in the cultural sector is a big plus. With other agencies, there’s a lot of explaining to do—how our audience engages, what our goals are—but with CultureSuite, that understanding is already there, baked in due to years of working with cultural partners.”
Sven points to the collaborative dynamic that comes from working with CultureSuite. “When I share feedback, it feels like I am not only standing up for our own needs,” he says. “There’s a sense of being part of a larger network of venues that are all moving forward together. That shared perspective, thinking about how we can shape the future, makes the work feel impactful—not just for us, but for the broader cultural landscape.”
Back to their work—connecting people to music. But how exactly do they make that happen? In the past, promoting music events was a personal, localised effort—relying on posters, word of mouth, and personal invitations. Artists and patrons often led the promotion, fostering direct community engagement, but the reach was limited.
How we draw people to events has evolved significantly. Managers must connect with a more anonymous, global audience through digital platforms that stretch far beyond the local community. Sven outlines just how far they’ve already taken the digital experience at De Bijloke thanks to the right technology and tools that allow them to delve deeper into the content.
“Picture this—each month, we spotlight a classical music master, while our content team delves into the healing power of chamber music,” Sven explains. “We publish articles celebrating female Baroque composers, and photographers showcase their work on our site. Filmmakers contribute their creative work, while musicians and experts come together on a podcast to discuss the life and work of composers. We provide music guides to walk you through the programmes, and a columnist offers fresh, artistic reflections. And there is so much more.”
That actually sounds amazing. "It is," Sven confirms. "It's an immersive world of music—something we couldn’t have imagined 30 years ago." Shari nods in agreement, adding, "But none of this would be possible without the right website host and the right team." She gestures toward Sven, noting how De Bijloke’s digital journey has made significant strides, especially since he joined the team.
As we wrap up the conversation, I pose the question: what will it take for audiences to step more fully into the worlds of the musicians on stage at Bijloke?
This question allows Sven to dream a little. "In my perfect world," Sven muses, "we’d take it even further. Our website would be all about the music. Imagine an integrated media player right on the site—no more linking to YouTube or other platforms. Everything—podcasts, videos, playlists—would be in one place. Written articles or columns would also be available in audio or video, or both. We wouldn’t just be a venue anymore. We’d evolve into a true multimedia music platform, offering even more sounds, stories, and ideas."
Shari imagines that step: "Last week we had this brainstorm, asking ourselves how we can track our audience on a more granular level, understanding where they drop off and how to tailor our mailings to be even more personal. Nothing’s worse than receiving dry, generic emails. I would love to make everything automated, yet personalised—making it easier for us, without losing that personal touch. Technology must always serve the artistic purpose.”
A commissioned article on how what many consider the oldest concert hall in the world connects with new audiences.
On the content production featuring regenerative architectural practices in Rotterdam, a collaboration between Sabine van der Vooren, the International Architecture Biennale Rotterdam and House of Narrative.
House Of Narrative and Alastair Parvin reflecting on the 11th IABR edition closing.
