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  • Bailer Music

Kick The Flame hits the US

Updated: Dec 28, 2022

There are few music publishers with such an incredible history to their name. Kick The Flame from Leipzig, Germany is one of them. With remarkable writers such as Martin Kohlstedt, Shelter Boy, Jeremias, Catt and many others, the music reaches more and more Americans with concerts, Netflix syncs and Streaming successes.

We are very proud to represent one of the most active music publishers from Germany in North America. Their catalogs consist of in excess of 10,000 copyrights and a growing number of cuts in synch to their name.

Catt, Shelter Boy, Martin Kohlstedt and many more are at the core of this unique publishing house from Leipzig.


The Netflix series "Partner Track" features the song AGAIN from CATT in the first episode and the song MOSAIC by TIFLIS TRANSIT in the last episode of season 1. The series centers on Ingrid Yun, an idealistic young lawyer who wrestles with her moral compass and passions as she struggles to rise to partner at an elite New York law firm.

CATTs music is always an experience. Her pure voice feels like hope, her playful arrangements encase the journey she takes you on. She sings about the questions of life, about fear, curiosity and change. Her words are simple and clear like a walk through the forest.

Shelter Boy

Shelter Boy has performed at several big festivals in Germany (Artlake, Immergut, Rocken Am Brocken, …) and has opened for Gus Dapperton, Yakob Ogawa and Omar Apollo. He released his 2nd EP "Rock'n'Roll Saved My Childhood (lel)"in January 2020 and is one of the most hyped newcomer acts of the German IndieScene today.

Martin Kohlstedt

Intuitively Martin Kohlstedt feels his way through this body of wood, felt hammers and steel strings.

The young composer, who grew up in the forests of Thuringia, doesn’t just put on an anonymous fingerplay – he perpetually opens himself up with each and every moment, with every stroke of the keys. An attempt to create something close and personal – beyond sophisticated classics or artificial pathos.

Kohlstedt isn’t reenacting a play, he’s holding a musical conversation with his instruments.

At times he might even lose his self-control and get carried away. Particularly in a concert setting, one might take note of this kind of aggressive straightforwardness, perhaps making him seem vulnerable. If you were standing off to the side, you could even find it cheesy.

Nevertheless, the argumentation between character and piece is so fierce, that you just can’t get around it. Consider yourself lucky under these circumstances – because that’s exactly what Martin Kohlstedt needs, this soundbox, his audience.


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