Fabio Baechtold on his move from BeJazz to FONDATION SUISA

Fabio Baechtold has been leading FONDATION SUISA since July 1, 2026. He succeeds Urs Schnell, who retired at the end of September after serving as director for 18 years.

Prior to that, Fabio Baechtold worked for BeJazz for 25 years, serving as executive director and program director since 2007. From 2017 to 2026, he worked for Suisse Diagonales Jazz and also served for eight years on the City of Bern’s Music Commission, which he later chaired. He lives and works in Bern and Lausanne.

In this interview, Fabio Baechtold talks about what appeals to him about his new role, what he’s taking away from his work so far—and why he’ll remain loyal to the Swiss music scene in the future as well.

Fabio Baechtold, you’re making the switch from event production to funding. How does that change your perspective on the Swiss music scene?

At BeJazz, the focus was on making concerts and festivals happen—from the program to the live audience. At FONDATION SUISA, I’m now taking a closer look at the conditions behind the scenes: What do musicians need so that their projects can come to life and find their audience? This shift in perspective interests me.

You describe FONDATION SUISA as an institution of just the right size. What does that mean to you, specifically?

A lot came together for me at BeJazz. I had a lot of responsibility and at times felt like a «one-man show.» At FONDATION SUISA, it’s different: I lead a team and can share responsibility more effectively. At the same time, the foundation is small enough that I don’t lose touch with the actual work and the people behind the projects.

What aspects of your previous work would you like to bring to your new role?

At BeJazz, collaboration was especially important to me: with the team, the musicians, and the organization. The feeling of achieving something together more than made up for all the hard work and stress. I want to bring that spirit of mutual respect, trust, and open communication with me to my new role.

What other opportunities and career paths have you considered for yourself after your time at BeJazz?

After 25 years in the same place, it’s natural to wonder if you might want to do something completely different. I certainly did. I briefly considered moving abroad or starting my own business. But during the application process, it became clear to me: Music is more than just a career for me—it’s my home. So leaving this world behind entirely was never really an option. At the same time, I wanted to challenge myself again and broaden my horizons. At FONDATION SUISA, I remain connected to the music scene but work from a new perspective: no longer for the program of a single promoter, but to support the opportunities of diverse music creators.

Where do you see the biggest challenges for musicians in Switzerland right now?

Visibility is a major challenge: While releasing music has become easier today, getting that music to an audience is more difficult than ever for many musicians. Especially on international streaming platforms, the question arises of how Swiss music can gain and maintain visibility at all. And as clubs and radio stations come under increasing pressure, other essential avenues for distribution are disappearing. Added to this is the economic situation. Many musicians work on a project-by-project basis, juggle various jobs, and have irregular incomes. Making good music is far from a guarantee that you can make a living from it.

How do you plan to address these challenges in your new role?

FONDATION SUISA has been exploring new forms of support for some time now in order to respond to changes in the industry. The long-standing staff members at the office bring in-depth knowledge of genres and areas in which I have had less experience so far. I can build on this and, together with the Foundation Board, make the necessary adjustments to ensure that our support continues to have an impact in the future.

Our foundation cannot solve the industry’s structural problems on its own. But it can open doors for musicians and provide them with some support—so they can bring their ideas to life and break into new markets.