Davor Jordanovski on the International Pop Night at the 33rd Ohrid Fest

Behind every festival evening of music, lights and applause are months of listening, selection and decisions that can determine a song’s future. For years Davor Jordanovski has been building that vision behind the International Pop Night at Ohrid Fest — Ohrid Troubadours, shaping which submissions reach the stage and how the programme is heard.

As artistic director of the International Pop Night, Jordanovski says his brief goes well beyond picking catchy songs: he aims to assemble a line-up that sounds contemporary, can compete on the regional scene and leaves an impression that lasts long after the final bow. The 33rd edition remains faithful to that recognizable concept — a fusion of musical cultures, modern production and distinct authorial stamps.

Performers this year come from North Macedonia, Serbia, Croatia, Slovenia and Bosnia and Herzegovina, confirming Ohrid Fest’s role as one of the few regional platforms where songwriters, performers and producers meet and collaborate. The festival has grown into a place for new partnerships and professional opportunities, where North Macedonian music can reach listeners beyond national borders.

New tools, same priority: emotion

One of the more notable developments this year is that several submitted compositions were created with the assistance of artificial intelligence tools — a global trend that has now arrived at Ohrid Fest. Jordanovski stresses that technology can support the creative process but cannot replace the essential ingredient: emotion. He even challenges the audience to try to spot which entries used modern AI approaches.

The musical programme is deliberately diverse: contemporary pop, dance, pop‑rock and pieces inspired by ethno sounds will share the evening, offering something for different listeners. Equally important this year is production: modern scenography, a new audio‑visual concept, striking LED visuals, carefully designed lighting and television direction are all intended to put the festival on visual par with major regional music events.

Foreign performers, Jordanovski notes, frequently praise the professional organisation, the hospitality and the atmosphere in Ohrid — reasons many return to the festival stage. Yet the chief aim, he says, is not the competition prize but the life of the songs after the festival. In an era when digital platforms erase the boundary between local and global audiences, a strong composition can reach millions. Jordanovski believes this year’s selection contains several songs with genuine potential to become regional — and even international — hits.

Photo: press material from the event