Petr Vořešák


Petr Vořešák

At work he’s an ethnomusicologist. After work, he becomes a musical maverick, experimenter and wayward wanderer, detouring back to the music that used to be cool. When he was little, he longed to have a band. But when he grew up, he started roving across the world so ended up a solitary singer-songwriter.

You can listen to Petr Vořešák’s music on YouTube, Bandcamp, and Soundcloud, all for free – it is licensed as CC BY-NC-SA 4.0.

For up-to-date information on upcoming concerts and other musical activities, follow him on Facebook page or sign up for an email newsletter.

If you like Petr Vořešák’s music, consider dropping some spare change into the Hat.

The Hat

Like Petr Vořešák’s music? Drop a coin into the Hat!

One hundred percent of your donation will help with the completion of his current projects. Right now, he is raising money to create the music video for the song Rusovláska. The fundraising campaign has no deadline. The project will be undertaken when the money comes together.

Raised so far

“The Hat is not a priori a tool to monetise music; it’s a way to share the cost of producing music with the people who enjoy it...”(read more...)




+420 721 974 223
For promotors
Petr Vořešák loves performing live and he’d be delighted to play for you. Please note:
  • it’s best to book him well in advance (especially for the international gigs)
  • he enjoys playing to smaller audiences who like to listen, and he’s keen to play unplugged whenever possible
  • he welcomes playing in unusual places and strange venues, especially those that can be reached by train
  • he especially relishes playing concerts with his musician friends, either consecutively on the same stage or simultaneously side by side (or both in one evening)

Recent musical collaborators

Drop a coin into the Hat...

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  • Clicking on the button above opens the Revolut payment gateway in a new window.
  • Enter any amount in any currency.
  • Please add your email address in the note for the recipient.
  • These payment records are not processed automatically but by a human, so it may take a few days for your payment to appear on this page.
  • Thank you so much for allowing me to work on my music with freedom and independence!

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  • Clicking on the button above opens the payment gateway in a new window.
  • Enter any amount in any currency.
  • Please add your email address in the note for the recipient.
  • These payment records are not processed automatically but by a human, so it may take a few days for your payment to appear on this page.
  • Thank you so much for allowing me to work on my music with freedom and independence!

Make a bank transfer

IBAN: CZ67 0300 0000 0002 2695 8318 (BIC/SWIFT: CEKOCZPP)
  • The bank account above is registered in the Czech Republic and uses Czech crowns (CZK). Please note that if you are making an international transfer, your bank may charge additional fees.
  • Please add your email address in the note for the recipient.
  • Thank you so much for allowing me to work on my music with freedom and independence!
Supporters of the project
Anonymous contributor (01/03/2024)5000,-
Honza Batysta600,-
Anonymous contributor (21/06/2023)200,-
Majda Folkmanová200,-
Anonymous contributor (30/06/2023)300,-
Anonymous contributor (09/07/2023)1000,-
Anonymous contributor (09/07/2023)600,-
Anonymous contributor (24/08/2023)777,-
TOTAL contributions:8677,-
About the “Rusovláska” project

It took me two years to write the song Rusovlaska (“A Redhead”), and if I hadn’t released it on the album Janus in 2016, I might still be working on it. On the album, the song was made truly special by the lyrical piano of Vojta Adamčík and the crystal-like innocence of Markétka Láchová’s vocals. Many people have complimented the song or asked for the sheet music (which of course does not exist). So I concluded that I’m not the only one who likes it…

In this upcoming musical-experimental-documentary film, we see a Rusovláska whose face reflects her dreams, but also her sad fate (which she shares with many other women).

The song will be heard in a completely new musical guise: instead of the lyrical piano there will be weeping accordion, and the crystal vocals will be replaced by balladic, anguished violins.

The film will capture a performance in an “enchanted reality,” – a special set-up in which the live performance occurs in a magical mise-en-scène.

Project budget:

DOP:4000 CZK
Rental equipment:3500 CZK
Actor (rehearsal, filming):4000 CZK
Violinist (rehearsal, filming):2500 CZK
Accordion & vocals (rehearsal, filming):0 CZK
On-site production:5000 CZK
Transportation:4000 CZK
Space rental:5000 CZK
On-site sound:0 CZK
Sound post-production (10 hours):5000 CZK
Image post-production (10 hours):5000 CZK
Catering:2000 CZK
Financial reserve (approx. 10%):4000 CZK
Why the Hat?

Not long after I started songwriting, I began to take great joy from making recordings of my songs. I have recorded three albums so far: one in a rush in a Prague dormitory (in a boiler room, more specifically) after an unfortunate premonition about the impending end of the world (Časozor a jiné muzikoryty, 2012), another in a university studio during a hit of harsh northern English winter at about 10 degrees Celsius (I Was Living in a zevltown, 2013), and the third in my attic during a hit of harsh Czech summer, this time at about 40 degrees Celsius (Janus, 2016). The attentive ear will hear the peculiar soundscapes of each of these circumstances in the songs. But I have never had the means to record in better conditions, as my songwriting has never really paid off...

Similarly, I soon began to create motion-picture accompaniments to my songs. I quickly discovered that this required even more resources than recording audio alone. Since my songwriting has never really paid off, I looked for ways to pursue this growing passion at little or no cost. And so – as a virtue of necessity – a peculiar visual language emerged, one through which I discovered the power and fragility of live performance, often set against the backdrop of “enchanted reality.” In this visual language, I have completed quite a few projects within the confines of small budgets and production minimalism, and with the help of my wonderful friends.

The desire for improvement gradually brought me to a tricky point. I had to save time and money for projects, just like others save for a vacation. The friends lending a hand often had to wait months (even years!) to see what they were working on. And I didn’t end up enjoying the production phase of the projects much; once the camera started to roll, I was focused more on whether all the recorders and cameras were charged enough, if there was enough space on memory cards, or if my friends’ stomachs were not churning, rather than on my own musical performance.

So I started looking for means to pursue these passions differently.

Of course, I was far from alone in this kind of trouble, and the invisible hand of the market has built many turnkey solutions for artists in similar situations. However, none of the models suited me for various reasons.

Platforms such as Kickstarter require artists to chase their fans with huge campaigns and deadlines. If not enough funds are secured, the money has to be returned and the project doesn’t happen. Not great for Petr Vořešák, someone with an audience that includes most of his good friends, the people he would least like to chase, and who also missed the social media hype train years ago...

Platforms like Patreon force artists to create content regularly and build a community that they feed with VIP material. Not great for Petr Vořešák, whose muses come to him with different intensities but without regularity, and who also has another job that keeps him busy…

On all of these platforms, the artist shares a portion of their fans’ contributions with the owners of the service, often a monstrous digital corporation. Not great for Petr Vořešák, who already earns next to nothing from songwriting (and is also wary of monstrous digital corporations)…

So I came up with the Hat, an experimental way to crowdfund the recording of new albums and music videos. The Hat is not a priori a tool to monetise music; it’s a way to share the cost of producing music with the people who enjoy it.

What makes the Hat different from other fundraising platforms?

  • No hidden fees.
    No sharing with platform operators and owners. One hundred percent of the proceeds go directly to Petr Vořešák to implement his projects; it’s as straightforward as a coin landing in a street musician’s hat.
  • No rush, no deadline.
    It doesn’t matter when the money comes together, even if it takes a few years – just like for a street musician who can’t be sure how fast their hat will fill up.
  • No campaign, no marketing.
    No tyranny of emails and posts on social networks. No rewards like magnets, socks and dinners with the artist; all the more time and resources for making the project happen.
  • No personal data for big corporations.
    Show your support publicly or contribute anonymously just like dropping a coin in the street musician’s hat (an email after your contribution will explain the options).
  • No covert business.
    You can see a detailed production plan for the project you support, including its planned budget.
  • No big expectations.
    I consider the Hat an experiment. Who knows, I may give it up quietly in a few years. Or maybe the whole indie scene will copy the model. Thanks for trying this out with me!


  • Why aren’t payments processed automatically?
    There’s no such thing as free lunch, not even for robots. Automatic payment processing from banking service providers needs to be paid for, and that would make the Hat project unprofitable (given it is set up just for occasional passers-by to drop in change). So, I publish the details of the payments myself, one by one. That’s why your payments may take a few days to appear on the web. Thank you for your patience!
  • Why don’t I use a transparent account?
    After careful consideration, I have decided to use a standard bank account for my crowdfunding activities. This allows contributors to remain anonymous (any transparent account works by publishing personal data that can identify contributors). I make the Hat as transparent as possible by 1) publishing information about the current total in the Hat; 2) publishing the planned project budget; 3) publishing the names of the contributors who have explicitly agreed to appear. If you come across discrepancies in the Hat (e.g. if you don’t see your payment credited within two weeks), then it is human error and I would be happy to be notified about it by .
  • How come donations aren’t taxed?
    In Czech law (i.e. in the country of my economic domicile), contributions are considered “gifts.” Those whose value from a single donor do not exceed CZK 15,000 per tax period are exempt from income tax.