Mainland Europe’s music festivals are experiencing a similarly slow season to their counterparts in Britain, hurt by repetitive line-ups, rising ticket prices and – potentially – wider societal changes in entertainment consumption, according to festival associations and operators.
IQ revealed last month that many UK festivals are bracing for a quieter-than-normal summer, with sell-outs down amid economic uncertainty and difficulty in differentiating themselves from the competition.
That’s also the case on the continent, says Christof Huber, festival director of Switzerland’s OpenAir St Gallen and general secretary of Yourope, the European Festival Association. “It’s definitely slower than in previous festival seasons,” says Huber, who says he thinks there are fewer sell-outs compared to previous years.
“I am afraid this is a real trend,” says Jean-Paul Roland, festival director of Eurockéennes, one of the biggest rock festivals in France. Roland – who is also co-president of festival association De Concert! with Les Nuits Botanique’s Paul-Henri Wauters – explains that, in France, the success of metal festival Hellfest (which sold 55,000 tickets in two hours) is an exception, playing “the role of the tree that hides the forest”.
“Paleo in Switzerland and Vieilles Charrues in France are usually sold out very quickly always. Biarritz En Été [also in France] threw in the towel for lack of sufficient reservations. Indeed, the season seems more subdued than last year: later sales, more difficulties to reach a point of profitability…”
This was illustrated earlier this week by the surprise cancellation of the revived Doctor Music Festival, with promoter Doctor Music pulling the plug due to low ticket sales after the event was forced to move by Catalonia’s environment agency.
“The market has been quite saturated for a few years”
Doctor Music head Neo Sala described the cancellation as “the toughest decision of my promoter career”, but said the number of fans who had returned the tickets for refunds – coupled with slower-than-expected sales for its new location at the Circuit de Barcelona-Catalunya racetrack – meant the headliner-heavy festival (the Strokes, the Smashing Pumpkins, the Chemical Brothers, the Prodigy and Christine and the Queens were all booked to perform) “won’t be able to offer the experience we were striving for”.
While independent, non-corporate events are believed to have been hardest hit by the slowdown – a senior exec at one of the multinationals tells IQ it has a “couple” of festivals underperforming, “but no more than usual” – Folkert Koopmans, CEO of European festival powerhouse FKP Scorpio, says, to his knowledge, “it’s the same everywhere. There are a few that are sold out, but it’s not like it used to be before.”
Roland says rising artist fees (what the AIF’s Paul Reed recently described as the headliner “arms race”) are making major international stars “more inaccessible” to many European events.
“The summer circuit in North and South America is becoming more structured and competitive, and that captures the international headliners in the summer, which results in less and less differentiated line-ups,” he explains. In France especially, this means “often the same Francophone artists are [headlining lots of] different festivals”, with festival ticket sales increasing “shifting to major theme parks”.
“My personal view is that the market has been quite saturated for a few years,” says Huber. “Also, the same headliners return too often and sometimes play multiple festival seasons.”
“We need to see what is happening, what people want, and adapt to those changes”
This, combined with more expensive tickets, has “led to the point that sales got slower”, he adds.
Koopmans suggests the soft summer is a symptom of wider demographic changes that will have an impact on the business for years to come. “It’s changing and we have to adapt,” he says. “When we were young, we were fans of music – we’d buy the records, spend hours looking at the sleeves – but young people now are more into gaming and other things. They’ll hear a song they like, then swap to another song – they’re not willing to spend so much money on music anymore.
“For example, they’ll go to an EDM festival because they can dance to the music, and they don’t mind going to smaller, one-day events that are €49. But not €200…”
The perception of a general slowdown isn’t being felt in other areas, with the world music genre faring better, suggests Patrick de Groote, the artistic director of the Sfinks Mixed arts festival in Boechout, Belgium, and secretary of the Forum of Worldwide Music Festivals (FWMW).
FWMW’s members, including Kriol Jazz Festival in Cape Verde, Gardens of Sounds in Poland and Barcelona’s Ciutat Flamenco, largely report improved or static sales, with only a few exceptions.
Roland agrees with Huber that the popular music market is saturated, saying De Concert!’s events are being negatively affected by increased competition, especially the “multiplication of small regional festivals, often at low prices or free, which offer more conviviality, more proximity and less security than the big festivals”.
“Small regional festivals, often at low prices or free, offer more conviviality, more proximity and less security…”
He adds that, in addition to competition from smaller festivals and theme parks, stadium events are taking away marketshare: the likes of Metallica, Muse and French-Canadian star Mylène Farmer all play stadium shows throughout this summer, which “makes festivals’ programmes less exceptional”.
Koopmans says festival operators are being forced to accept that traditional camping festivals – with a few honourable exceptions – “aren’t the hip thing anymore”, with people preferring to go to headline shows and one-day events.
“The festival market is still there, and it will continue to exist – Hurricane and Southside, for example, have great line-ups, and they’ll work this year – but in general it’s a challenge,” he explains. “Over the next few years we need to see what is happening, what people want, and adapt to those changes.
“Touring is stronger than ever before – people love to go to shows. But there’s been a change across the whole society, about what you do when you’re young and how you spend your money. We’re an entertainment company, and we need to entertain people in the way they want to be entertained.”
IQ’s own analysis of Europe’s festival market, the annual European Festival Report, will return in the end-of-year issue #87, providing an in-depth look at capacity and attendance, ticketing and pricing, VIP sales, challenges and concerns, new technology and more.
Read the 2018 European Festival Report here.
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