‘Festival Forum: Here Comes 21’ will feature representatives from AEG Presents, FKP Scorpio, Roskilde, Montreux Jazz Festival and Bloodstock Open Air
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Long-term damage to the industry supply chain and the need for lower artist fees in 2021 were among topics discussed in the second, festival-centric IQ Focus panel
By IQ on 15 May 2020
Representatives from some of Europe’s best-loved festivals took part in the second of IQ’s virtual panel sessions yesterday (14 May), reflecting on the long-term impact of the coronavirus crisis on this important seasonal sector of the industry.
Available to watch back now here, as well as on Facebook and Youtube, the session saw AEG Presents’ Jim King, FKP Scorpio’s Stephan Thanscheidt, Bloodstock Open Air’s Rachael Greenfield, Roskilde Festival’s Anders Wahren and Montreux Jazz festival’s Mathieu Jaton offer their opinions on the biggest challenges facing the festival industry post Covid-19 and the steps the sector must take for recovery.
Although Thanscheidt stated FKP was “planning on having a normal season in 2021”, others did not share his optimism.
For King, the negative effects of the coronavirus crisis will continue to harm the sector until a vaccine is created. “I am severely doubtful that anything is going to take place this year and I’m somewhat doubtful about Q1 next year,” said AEG’s CEO of European Festivals.
The festival supply chain is of particular concern to King, given the number of independent festivals that face collapse due to the current situation.
“These community festivals provide income for freelancers and suppliers of all sizes,” said King, citing a recent Association of Independent Festivals (AIF) report which warns that 92% of its members could be bankrupted by refund requests.
“I think overall the average price for an artist will come down, and I think you’ll see that on touring too”
“If those festivals are impacted, the supply chain will be dramatically affected as well. This has a massive ripple out to the wider industry,” said King. “The impact will be seismic, and that’s an understatement.”
The panel agree that fan confidence had taken “a battering”, and that the coronavirus crisis will lead to fans having less money to spend. As a result, “there’s going to be a correction across costs generally” to account, argued King.
“Artists are going to get paid less because staff and suppliers are going to get paid less – everyone’s going to have to take a big bite of this to protect our relationship with the fan.
“Some [artists] won’t tour if they have to take a cut. But I think overall the average price for an artist will come down, and I think you’ll see that on touring too.”
Beyond the pressure on costs and artist fees, guests referenced the incompatibility of festivals with any form of social distancing measures.
“A festival is all about bringing people together. To institute any form of social distancing… I fail to see how that could work,” said Greenfield, who cancelled the 2020 edition of Bloodstock earlier this month. “To be able to have a good time you can’t separate people – that’s not what a festival is about.”
“A festival is all about bringing people together. To institute any form of social distancing… I fail to see how that could work”
Wahren, head of programming at Roskilde Festival, which was forced to cancel this year due to the Danish government’s summer-long events ban, agreed that “it’s all or nothing”.
“I can’t see us running a festival wearing masks or standing one metre apart.”
For Wahren, alternative forms of live events such as drive-in concerts, although fun, are mere stopgap solutions and “not what we are in this business for”.
Session host and ILMC head Greg Parmley asked each guests for a positive lesson that the last two months had taught them. Unanimously, all spoke of an overwhelming sense of audience loyalty towards their events.
Full festival tickets for Roskilde 2021 sold out in a matter of hours earlier this week, with 85% of ticketholders holding onto their tickets for next year. Thanscheidt cited similar numbers for FKP’s twin festivals, Hurricane and Southside, with 75 to 80% of fans expected to retain their tickets for 2021, and Greenfield put refund requests for Bloodstock at just 8%.
“We also managed to roll over 95% of bands for next year, which surprisingly wasn’t at all difficult,” added the Bloodstock director.
In Germany, parliament is set to pass new laws regarding the refund system in the next few days, said Thanscheidt. The German government is among those to protect corona-hit event organisers by allowing them to offer credit vouchers instead of cash refunds.
“There is a great opportunity for us to reshape the industry, we’ve just got to get to the point to allow ourselves to do so”
And beyond the fans themselves, panellists highlighted the solidarity shown throughout the industry, with many pulling together to support others in need.
However, a more unified approach to tackling the crisis is needed. According to Thanscheidt, “it’s time to team up and start lobbying on a pan-European level.”
For Jaton, the unification should go further still. “The first steps right now are to save the industry in individual countries, but we are an interdependent industry – we are very dependent on the US, so if there is a problem in the US, that’s half our festival gone [talent wise].”
King agreed, saying that, as an industry, “we have still not set out what our key objectives are”.
“Everyone’s thinking very differently about when we recover. We’ve got to put in a longer term plan over multiple cycles and we need to align on how we can collectively come out of this.
“There is a great opportunity for us to reshape the industry, we’ve just got to get to the point to allow ourselves to do so.”
The next IQ Focus session, The Venue’s Venue: Building Back, takes place on Thursday 21 May at 3.30 p.m. BST/4.30 p.m. CET, with speakers John Langford (AEG Europe), Lucy Noble (Royal Albert Hall/NAA), Olivier Toth (Rockhal/EAA), Oliver Hoppe (Wizard Promotions), Tom Lynch (ASM Global) and Lotta Nibell (GOT Event).
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