Politics & Verantwortung – Moralischer Kompass vs. Kulturbetrieb ・ Pop-Kultur Festival 2026

August 24–30, 2026 | silent green Kulturquartier, Festsaal Kreuzberg, Kulturbrauerei, Pierre Boulez Saal, and more 

Live concerts, experimental music formats, talks, and more. You can look forward to international and local artists, world premieres, and music in all its forms—from large stages to intimate club shows.

The pop industry loves to strike a pose—as long as it doesn’t cost too much. But what happens when ethical convictions become not just a matter of discourse, but a matter of survival? When cancellations, boycotts, or public stances have real consequences—for oneself and for others? This panel explores the (in)compatibility of individual morality with a cultural industry organized around the division of labor. Artistic decisions are never purely individual; they ripple out to affect agencies, labels, crews, funding structures, and international partners. The domino effect is real—both economically and symbolically. Thomas Venker, editor-in-chief of *Kaput*—Magazine for Insolvency & Pop, discusses the issue with label manager Noura Labbani, publisher Daniel Meteo, musician and actress Christin Nichols, and attorney Reinher Karl. Drawing on the cultural and political upheavals surrounding the Epstein Files and the entanglements of the Wasserman Agency, the discussion will address the question of complicity through proximity or silence. The central question is: Is there such a thing as a morality rooted in solidarity in pop culture—or is every decision ultimately framed by individual choice and market forces? The aim here is not to pass moral judgment, but to think structurally: What responsibility do artists bear? What responsibility does the industry bear? And where does the self-deception begin in an industry that likes to present itself as progressive but rarely reflects on its own power dynamics? Noura Labbani lives in Berlin and has been working in the music industry for over 15 years, focusing on artist development, label management, and digital strategy. After holding leadership positions at companies such as Beatport, DICE, and Patreon, as well as providing independent consulting services to international acts and labels, she is now the EU Label Manager responsible for the European expansion of Dirty Hit and dh2. Daniel Meteo works as a music publisher with a focus on management at the Berlin-based company Random Musick Publishing GmbH, representing artists such as Anika, Alan Abrahams, and Apparat. He has been actively involved in Berlin’s music scene for over 25 years and has been voicing his views for years through his monthly newsletter as well as at numerous panels and workshops. Christin Nichols, born in 1991 in East Westphalia and raised in Spain, completed her acting studies at the HfS Ernst Busch in Berlin. This was followed by engagements at the Renaissance Theater, the Berliner Ensemble, the Volksbühne, and the Schauspiel Leipzig, as well as in film and television. As a musician, the German-British artist has now released three solo albums: “I’m Fine,” “Rette sich wer kann,” and “Christin Nichols.” Reinher Karl has been practicing law for many years, focusing primarily on copyright law, trademark law, and data protection law. His clients come from all sectors of the cultural and creative industries, particularly the music industry and the events sector. He advises the Association of Independent Music Entrepreneurs at the national and European levels on legislative proceedings concerning copyright law, internet regulation, and digitalization. Thomas Venker (Cologne) is co-publisher and co-editor-in-chief of *Kaput*—Magazine for Insolvency & Pop—and co-curator of the concert series “Köln ist kaput,” “Talking Kaput,” as well as the music and art program at the Cologne off-space “Kapute Szene.” Before founding Kaput in 2014, he served as editor-in-chief of Intro Magazine for 14 years. He writes regularly for a range of magazines and daily newspapers and moderates panels and symposia for cultural institutions. In addition to his journalistic work, he teaches music journalism and artist marketing at several German universities.