Behind The Setlist Collection: Interview with Blood Becomes Water’s Raya Boteva

Over the course of more than a decade, Brussels-based Raya Boteva  – co-founder of art collective Blood Becomes Water – built an accidental collection of setlists: a growing archive of torn papers, ripped cardboard and smudged ink, left behind by 70 bands across 13 countries. With the book ‘The Setlist Collection’, she brings this ephemeral trail to life – a time-travelling document of packed venues and sweaty crowds preserving a personal piece of music history. We caught up with the music-obsessed graphic designer to talk about it all.

Do you remember the first setlist you ever picked up? What made you keep it?

Unfortunately, I don’t. It must have been a really long time ago, and I most probably lost it when moving houses. I just wanted to have souvenirs from things I did and enjoyed, paired with my obsession with music.

Is it hard to get your hands on them?

It’s not hard, but it depends on the band and the venue. For famous acts you have to be quick, sometimes you need to get onto the stage to pick it up, or when there is a big distance from the audience and stage you need to ask the band or the security to assist. Sometimes you just have to accept you won’t get it because other fans were faster!

Was it a conscious decision to create a setlist archive? 

Not really. The truth is, I often forget that I even have a setlist archive and only remember it when I’m figuring out where to store a new one. I currently have around 100, and it’s a continuously growing collection. The most recent one I added was Condor’s setlist from their gig at Cobra Jaune in Brussels – it’s written on a napkin.

What does the collection mean to you? 

For me, it represents lots of great memories. The setlists mark different periods in my life, making me think of trips, friends,… They are almost like photo albums to me. And beyond the personal aspect, each one represents a tiny fragment of music history.

I think a physical object holds way more value than anything virtual.

Did you always know you’d eventually turn this into a book? 

No, not at all. It was more of a spontaneous idea, although we had already discussed possible publishing projects around trips and festival memorabilia within our art collective Blood Becomes Water. Originally, I started creating a zine just for myself, first without realising that Rosie Eisor, my fellow co-founder, also had a setlist collection, which we then decided to merge. Plus, within the collective, which also includes Robin Renard, we all had a lot of photos from the concerts. That’s how we ended up with a 100-page book!

Why a book and not a website or another medium? 

I’m tired of the internet and have always enjoyed editorial design and the smell of ink and paper. I think a physical object holds way more value than anything virtual.

Some names in the book are cult icons, others are more obscure. How did you choose who would make the cut?

Actually, we primarily selected setlists based on their visual appearance. Initially, I was hesitant to feature big names, but after discussing it with Rosie, I found the mix of completely unknown bands and super famous bands, gigs in dingy small bars and at huge festivals, quite hilarious. It’s a great way to highlight issues within the music industry and mainstream media.

The setlists are almost like photo albums for me.

Is there a setlist that is particularly special to you?

They are all special, but one that stands out to me is the one written by my friend Étienne Marsal from Mountain Bike. It’s a distinctive graphic arrangement with beautiful handwriting that really speaks to me. What makes it even more unique is the paper he used – his payslip for €358.74. 

Self-publishing is a brave move. What drew you to this route, and what was the process like?

I think it was a logical progression after 15 years of self-publishing zines within our collective. It felt like the right time for a book, and we already had the content. The process itself wasn’t particularly romantic – it involved many late hours of work squeezed in between regular jobs and free time, while I tried to enjoy the graphic design aspect for its own sake. Of course, it could always be improved, but it was a great satisfaction to see it come out exactly as it did.

The book extends beyond the pages — could you share how it has been received or showcased in other contexts since its release?

We released the book last year at 72 Records in Brussels. Two bands featured in the book – Keeper Volant and Dragster – came to replay their setlists, alongside an exhibition of selected photos and setlists. Additionally, we presented the book’s music with an exclusive DJ set on Kiosk Radio, only featuring tracks by artists from “The Setlist Collection.” 

We also organised a release in Sofia in Bulgaria, our hometown, at Avrtikl Bookshop. There, we joined forces with PUK!, a photobook platform that was incredibly supportive and interested in the project. We staged an exhibition again, including original setlists, video footage from the concerts, and hosted a talk.

PUK! actually encouraged us to apply for the Dummy Award, organised by The PhotoBook Museum in Cologne. Although we only did an initial small print run of 100 copies, we made it to the top 50 shortlist out of 395 entries from 48 countries! So, ‘The Setlist Collection’ will be touring around the world for the next year and will be presented in Barcelona, Milan, Cologne, Łódź, Prague, Dublin, Bangkok, Jakarta, Hong Kong, Montevideo, Buenos Aires, and Santiago de Chile. 

What kind of experience do you hope readers will have with the book?

I hope it takes them back in time to songs or places they love(d), just like it does for us, or helps them discover their new favourite band. Appreciate the moment!

Buy ‘The Setlist Collection’ here 

The Dummy Award shortlist exhibition is on view at the Rautenstrauch-Joest Museum in Cologne until 10 June 2025