The building has become a social hub, based on, “the interaction between the shop and the radio and the people working here. The pair respect the neighborhood – they kept the red light and the velveteen curtain used by the building’s prior occupants, and they don’t – as some businesses do – look down on the nocturnal activities of their neighbours. But on the other it’s a global station with listeners all around the world. On the one hand, it’s very much of the Red Light District, of Amsterdam. RLR has an interesting relationship with its surroundings. “So we do program according to our own tastes, but it doesn’t have to be our music.” “With reggae or something I can hear when it’s cheesy and it sucks or when it’s killer shit,” Orpheo says. “I have always been that rocker at house parties but I am really open-minded and the same goes for Orpheo.”Īnd, the pair point out, it’s still possible to know if something is good or not, even if it’s not the sort of music they would usually play at home. “We learned to love different genres,” Hugo continues. “It’s not about programming saying, ‘This is well-known’ or ‘This has an audience.’ Honest people with nice music – let’s go.” “We are always super open to stuff – that’s the only policy,” Orpheo explains. This has continued and grown, so that Red Light is renowned for its eclectic music program. It helped they came from different points of view – Hugo from the world of guitar-led bands and Orpheo more from electronica, and so from the start there was a wide range of music which found its way on air. “Everything has been organic choosing shows, choosing music, choosing who to work with and who not to work with.”Īt the beginning the guys programmed shows and performances from their friends. “We made many, many, many mistakes,” he laughs.
In the beginning it was make the station happen, then survive for a year, then stay in this building, and then make it a job. “I am quite happy we didn’t start with some sort of masterplan. The mentality is still, what can we do and who can we work with? And that is a good thing because we are more aware of our identity – go with the flow and get involved with people we feel connected to, whether that’s a hip hop or a metal artist, a big museum or a small gallery.” “Now we make a plan for the year, kind of. “We never thought this would be a job like it is now,” Hugo says.
But back in the early days, when Hugo and Orpheo secured a three-month lease on the former brothel, and got a small grant to develop their nascent idea for an online radio station, they never imagined where they would be today.
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