Since its launch in 2014, Horst has established itself as a unique festival, paving the way for a new kind of electronic music experience through immersive music, striking architecture, and a devoted community that returns year after year. Simon Nowak, co-founder and programmer, opens up about the festival’s home at Asiat Park, its ever-evolving creative spirit, and the delicate balance that keeps Horst feeling fresh and intimate—even after 11 editions.
The Story Behind Horst and Its Site
Where did the idea for Horst come from?
“Back then, we were all really into club culture, but the DJs we liked weren’t playing festivals in Belgium. The ones that did have DJs felt generic—fields, big tents, DJs far from the crowd. We wanted to flip that. Bring in different artists, build unique stages, and have the DJ right up close.”
“People often say Horst feels like a series of mini clubs. That’s exactly what we try to do—create a club culture experience where you’re moving from one space to another across the festival grounds.”
The location plays a big role in that. How did you end up at Asiat Park?
“We started out at a castle in Holsbeek for five years, but eventually had to move. Around then, we connected with the local mayor who had just bought this abandoned military site. It was super rough but full of potential. Once we started building on it, Horst really began to flourish.”
Growing a Loyal Community
The Horst crowd feels incredibly loyal. Was that there from the start?
“From the beginning, we treated music, arts, and architecture as equals. That brought in a really interesting mix of people. We also invited young people—often from the UK, France, Australia—to come help build the festival. They’d go home and bring friends the next year. That’s been a big part of our organic growth.”
Have you seen more people travelling from further afield across the festival’s editions?
“Yeah, for sure. From early on we had interest from the UK, and now about one in four tickets is sold outside Belgium.”
Would you like Horst to keep growing?
“Maybe slightly. Right now we’re at 13,000 per day—we might go to 15 or 16,000. There’s more land we’re hoping to add to the park.”
Curating the Soundtrack
The musical curation feels very considered. How do you approach programming?
“It’s always evolving. I try to find a balance between more established names and emerging artists, plus strong local acts. This year, for example, we had Kuba ’97, a local artist, close Le Soleil Rouge in front of 2,000 people. That was special.”
Collaboration seems key to Horst. Any standout partnerships?
“Definitely. We’ve been working with Kiosk Radio for four years—they have their own stage, and we co-curate the lineup. Same with The Lot Radio from New York. These community-driven radios are really important to us.”
“And of course, DVS1 helped design and curate the Dark Skies stage on its opening day.”
Designing the Experience
Architecture seems central to Horst. How do you approach something like the new Dark Skies stage?
“Just like I have a list of artists I want to book, Matthias—our head of architecture—has a list of architects he wants to work with. We invite them to the site and see what’s possible.”
“With Dark Skies, we asked Leopold Banchini and Giona Bierens de Haan to design something for 3,000 people. They said we’d need a big structure and great sound, so this time we started with the sound. We brought in DVS1 for that. It all came together in a really natural, magical way.”
You seem to actively avoid repeating the same formula each year. How important is risk-taking to Horst?
“It’s essential. You’ve got to keep challenging yourself and avoid falling into routine—even if things are working. At the same time, we care about sustainability. We try to use recycled materials and build things that last, not just for one year. We usually add one or two new stages and some installations each year. The crowd sells out tickets even before the lineup drops, so we want to keep surprising them.”
Standout Moments
Any musical moments you were particularly proud of this year?
“I really loved Volition Imminent’s set on Friday night at Weaving Weeds. It was a completely different sound than what you’d expect at Horst, and that’s the kind of risk I want to take. Also, TaliaBle rapping over very industrial, up-tempo beats really stood out. And AliA—she first came to Horst at 14, played at 17, and has been with us almost every year since. This time she went back-to-back with Mia Koden. Watching her grow with the festival is something I’m really proud of.”
Head to the Horst website for more information.