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Where should a music entrepreneur start when they want to take their business to the next level and beyond Estonia’s borders? Last year, Music Estonia offered experienced Estonian music companies the opportunity to participate in the AMP Focus programme. Four different enterprises set a goal to enter completely new markets — the United Kingdom, Germany, South Korea, and Finland.

The programme provided support for companies that already had an export plan and a clearly defined target market. This included help in finding contacts, acquiring local market knowledge, and accessing additional investments. Since each target market had its own specific characteristics, every participating company was assigned a consultant specialising in that country, who helped find the right contacts and prepare for the market visit.

The participating companies were Riffs and Runs (Rita Ray, who took part together with her manager Henrik Ehte from Funk Embassy), Curly Strings (together with their manager Greten Lehtmaa), Tier Music Publishing, and FAAR Music.

The Focus programme concluded at the end of September with a seminar titled “New Markets, Fresh Lessons”, where music entrepreneurs shared their experiences. The discussion brought together programme participants Henrik Ehte (Riffs and Runs, Rita Ray), Greten Lehtmaa (Greator Productions, Curly Strings), Thea Zaitsev (Tier Music Publishing), and Kertu Mägar (FAAR Music). They shared insights, advice, and practical tips for others planning to expand beyond Estonia.

United Kingdom: To break through, you must do something truly exceptional

The crown jewel of Estonian soul music, Rita Ray, has already made waves in Germany, Poland, Luxembourg, and the Netherlands. Yet one market remained unconquered — the cradle of old-school disco, rhythm and blues, and soul: the United Kingdom, home to the world’s largest music market for this genre. That’s why Rita Ray’s band and her manager Henrik Ehte decided to focus their efforts there.

Their on-the-ground support and consultant was Stephen Budd, a seasoned UK manager who had previously discovered Rita Ray’s music at Tallinn Music Week. According to Ehte, it was a major advantage that Stephen was already familiar with their work, as it saved time on introductions and briefings, allowing them to move straight to action.

First, they set a clear strategy: the goal for the one-week trip to London was to make as many local connections as possible — meetings with key figures in the music scene, studio sessions, and demo recordings with different producers. The highlight of the week was two performances at the famous London live music venue Jazz Cafe.

Ehte noted that the plans came to fruition as intended. In addition to Stephen, several local Estonians working in the music industry also offered support. This provided a better understanding of how collaboration works in the UK and how to approach people effectively. While Ehte was networking and meeting music professionals, Rita Ray’s lead singer Kristi recorded demos with various producers, including the well-known musician and producer Rhys Lewis.

They also explored potential collaborations with respected record labels, though some local professionals warned them about certain companies based on their own negative experiences — a reminder that personal connections and on-the-ground presence are essential. “From the outside, a record label can look glamorous, but you never really know what the actual experience is like,” Ehte reflected.

From a practical standpoint, travelling to the UK with a full band turned out to be surprisingly affordable. They stayed in a Camden apartment, and with careful planning, food and flight costs remained reasonable. The process brought many lessons and insights: “No matter how detailed your briefing is, someone will always show up at the airport with a suitcase too big,” laughed Ehte. “When working on the ground, confidence and having some pre-existing contacts are invaluable.”

He also noted, along with other seminar participants, that Estonians are quite spoiled when it comes to the high technical quality of production — in many other countries, the level is noticeably lower.

But what does it truly take to break into the UK market? According to Ehte, the competition is “insane” — every country has its own brilliant artists in the same genre. “You have to be exceptional at what you do and create something truly unique and striking to stand out in such a massive market.”

In conclusion, Ehte found that focusing on the UK market was a worthwhile experience. Although there are no concrete collaboration projects underway yet, the network of contacts is in place and there’s potential for a future tour concept. “I can see us selling out a show at London Jazz Cafe next time. If not completely, then at least three-quarters full — that would be a great next goal,” he said.

A special album, song and tour just for Germnay

The beloved band Curly Strings first formed their connection with Germany back in 2017, when a conversation with a potential German partner at Tallinn Music Week revealed that their collaboration could work well on German stages. The following years brought steady progress, but after some lineup and management changes, their international plans were put on hold. In 2024, the band decided to reignite their ambitions, and the AMP Focus programme offered the perfect opportunity to make their long-time dream a reality.

According to their manager Greten Lehtmaa, 90% of success in entering a new market lies in careful planning. They needed to think through who the German audience is — their preferences, habits, and mindset — and why a German listener should want to hear Curly Strings. This required thorough groundwork and a clear understanding of the local market situation.

Although Germans are generally open-minded and curious about different cultures, Curly Strings impressed potential German partners not only with their music but also with their professionalism and precision. They presented a German-language website, a consistent visual identity, and a well-organized catalogue — all documents and materials were in order. “That really made their eyes light up,” said Lehtmaa. “I believe you have to find what motivates your collaborators and makes them enthusiastic. That’s how you can fulfill the artist’s dream together.”

She added that compared to Estonians, Germans are still quite traditional — they prefer physical CDs, listen to radio, watch television, and read print newspapers. The same applies to their music culture.

In addition to their existing partner in Germany, the programme also connected Curly Strings with a local PR agency that helped them shape their media strategy and choose the best approach. Lehtmaa explained that it’s harder for an Estonian manager to build a media plan or find suitable partners abroad than it is for local experts who already know the landscape.

She emphasized the importance of seeing the bigger picture: “Germany has 84 million people, while Estonia has 1.3. The world doesn’t work like this: you do your job well, go on an Estonian morning show, everyone here knows you, and suddenly you’re successful internationally. We sometimes forget that expanding abroad requires a deliberate decision, strong collaboration, and a long-term plan.”

Today, Curly Strings have taken major steps forward: in March 2026, they’ll embark on their “Make Your Wings and Fly” tour in Germany, performing eight concerts across the country. Their latest full-length album Aeg luua ja lehvida(“A Time to Create and to Fly”) came out half a year ago, but for the German audience, they released a special English-language EP titled “Make Your Wings and Fly.”

This was one of several strategic decisions — to release a separate physical EP before the tour, featuring a German-language version of their song “Kättemaks” (“Rache”), which will also be performed live on tour. They also launched a German-language website and developed a carefully structured communications plan focused specifically on the German market to maximize promotion for both the album and the tour.

One in a million demos: The specifics of the South Korean market

As part of the AMP Fookus development programme, FAAR Music chose to focus on South Korea. The broader goal was to introduce the company’s brand and songwriters to international markets, expand its catalogue, increase author royalties, and position Estonia as a destination for professional songwriting.

According to FAAR Music CEO Kertu Mägar, South Korea was an ideal choice — both because of its vibrant and unique music scene, and because the company’s style aligned with the country’s pop sensibilities. Unlike in Europe, K-pop groups do not write their own music. Instead, management companies select songs pitched by external writers and producers. In addition, production fees are attractive, making Korea a lucrative market.

There are, however, key differences compared to Germany or the UK: while personal connections and face-to-face meetings are vital in neighbouring markets, in South Korea, consistency and persistence are equally crucial.

In Korea, artists work under entertainment companies that oversee their entire projects — they select songs, manage schedules, and shape the creative direction. The groups themselves are mainly performers, and they rarely participate in songwriting. Demos are sent to Korean artists in large quantities, so it’s essential to stand out through quality and professionalism. Mägar explained that demos must be fully produced, high-quality versions complete with background vocals, catchy hooks, and engaging lyrics.

It’s also vital to consider the specific features of each artist — for example, how many members are in the group, whether it’s a male or female act, and whether it includes a rapper. Sending incomplete ideas is not effective; only polished, ready-to-release songs have a chance of being picked. Often, the songs selected for release end up closely resembling the original demos, only translated and re-recorded locally.

Consistency also matters — new demos must be sent regularly and strategically to keep the company visible to Korean partners.

As part of the AMP Fookus programme, Mägar and her team travelled to Seoul, South Korea, to meet with local industry professionals. They worked with a consultant who knew the market inside out, and were supported by FAAR Music’s sub-publisher representing their catalogue locally. The team included Estonian songwriters Emili Jürgens and Elias Teikari, who met local companies, producers, and writers, participating in co-writing sessions to build creative connections.

“Since competition in Korea is intense, we have to work even harder to stand out,” Mägar said. “A good tip is to bring a small gift from Estonia — it always brings a smile, helps break the ice, and makes you more memorable.”

She added that preparation and cultural awareness are key: know the companies you’re meeting, prepare thoughtful questions, and bring business cards — preferably presented with both hands. In South Korea, it’s considered impolite to slip a card into your pocket right away; instead, they should be placed neatly on the table as a sign of respect.

FAAR Music’s biggest achievement through the AMP Fookus programme came in January this year, when one of their submitted demos (written by Carlos Ukareda, Eric Menchini, and Haris Alagić) was selected by a Korean boy band. Mägar received the good news while at the airport on her way back from Seoul. The song, titled “Want More? One More”, was recorded by the group NEXZ and released shortly thereafter.

The track remained largely true to the original demo — only the lyrics were translated into Korean, some English phrases were kept, and the writers were asked to compose a new bridge. The entire process, from confirmation to release, took about three months.

In Korea, it is common for phonogram agreements to be signed on a buy-out basis, meaning the recording rights are transferred to the company, but authorship and composition rights remain with the writers.

Untapped Opportunity: Music in Video Games

As part of the programme, Tier Music focused on expanding music distribution into the gaming world. The company is a sync agency specializing in music publishing and licensing, primarily for film, television, advertising, and video games. Though still a niche field, its potential is considerable, according to CEO Thea Zaitsev.

Through the programme, Tier Music made several networking trips to Finland and attended international conferences in Europe and the United States, such as Music Meets Games, GDC, PG Connects, Nordic Games, and others. To support their activities in Finland, the programme brought on board consultant Natasha Skult, head of the Finnish game company MiTale.

One of the key observations and discoveries, Zaitsev noted, was that the best contacts and deals with game industry professionals often emerged over a casual coffee rather than during official conference sessions. It’s important for composers themselves — not just their representatives — to attend such events and build personal connections.

The collaboration between Tier Music and their consultant Natasha extended beyond the programme itself. For example, they established a partnership with GameDev Estonia, which leads Estonia’s gaming industry development. Together with EIS (Estonian Internet Foundation) and Music Estonia, they organized Estonia’s first-ever “Music Meets Games” event. The event even brought in a mentor from Canada with a strong background in game development, and participants gained valuable insight into how music is sourced and integrated into games.

Compared to more familiar areas like live music collaboration, the intersection of music and gaming is far more complex. “You have to be in the right place at the right time to offer and create music for a game,” said Zaitsev. Game development is often a long process, where music plays a crucial role from the very first stages of production.

Thanks to the programme, Tier Music succeeded in expanding their network, raising awareness of the connection between games and music, and forming new professional relationships. Today, the company has an active partner contact in Finland, to whom they regularly pitch music — and with luck, we’ll soon be hearing about new concrete projects emerging from these collaborations.

In conclusion, although each company’s experience with its target market was different, entering a new market can be summed up in a few words: understand the country and its culture, find local partners, and stay consistent.

AMP Fookus is a development programme for experienced music entrepreneurs who already have an export plan and a chosen target market, but need support in building connections, gaining local market knowledge, and securing additional investment.

The seminar and development programme were co-funded by the European Union and carried out in partnership with Tallinn Music City.