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France’s Rock en Seine embarks on new era

Ahead of its 25-28 August return, organisers reveal their ambitions to make the Paris event one of the world's leading city festivals

By James Hanley on 19 Aug 2022

Rock en Seine


image © Zelie Noreda

Rock en Seine GM Matthieu Ducos and AEG European festivals boss Jim King have previewed a new era for the French festival in an interview with IQ.

The extended 18th edition of the 40,000-cap event takes place in Domaine National de Saint-Cloud, Paris from 25-28 August with headliners Arctic Monkeys, Nick Cave and the Bad Seeds, Tame Impala and Stromae.

“From an AEG perspective, we see Rock en Seine as being as important to our global portfolio of festivals as Hyde Park, All Points East, Coachella and everywhere else,” says King. “It’s equal in every measure to the other festivals that we operate in any market around the world.

“It needed some attention; it needed resource and support and we needed to allow the team to realise their ambitions. But it has the potential to be one of the world’s leading city-based festivals and we certainly feel it’s on its way to achieving that.”

AEG acquired Rock en Seine in 2017 in partnership with media investment group LNEI, but King suggests the event’s return from its Covid-enforced hiatus marks something of a reboot, as it is the first edition to be held since the launch of AEG’s European Festivals division in three years ago.

“It had not had its best years, but it is a well respected event with a great history, and a great site in the centre of Paris”

“It allowed us to bring some specialist overview to Rock en Seine, which is a very long-standing and established festival in Europe,” he explains. “It had not had its best years but it is a well-respected event with a great history, and a great site in the centre of Paris.

“With the Covid shutdown, it enabled all stakeholders this extended review on how to make it better. It allowed us to reset the team locally, build a stronger relationship and, from that platform, provide whatever assistance – and I need to underline assistance – to that team to realise what their vision of it was.

“What you’re seeing now is the realisation of the outlook and the vision of the team in Paris. Our role has been able to provide that framework and at times just some guidance and resourcing to allow that to be achieved.”

AEG’s London concert series All Points East, which was held in May pre-pandemic, has been pushed back to the same weekend as Rock en Seine, enabling Nick Cave and the Bad Seeds and Tame Impala to headline both events.

All Points East, which kicks off tonight with Gorillaz, runs in Victoria Park over two weekends – 19-20 and 25-28 August.

“Festivals live and die on artist bookings. We can say otherwise, but it is essential to it”

“The one thing we did centrally was reposition All Points East to the same weekend, which would then allow Matthew and also Arnaud [Meersseman], who runs AEG’s Paris office, to work much more closely with the booking teams from All Points East and establish that new culture,” says King.

“Festivals live and die on artist bookings. We can say otherwise, but it’s essential to it. So the idea was to start building that platform where agents could see a strengthened end of the summer window, with two great shows which they could then support with their artists.

“Those foundations have then been picked up by Matthieu, and what we’re seeing now is the best line-up Rock en Seine has ever had. That’s creating more ticket sales and a higher gross than Rock en Seine has ever had, and more sponsors and sponsorship gross than Rock en Seine has ever had. So it’s just success, on success, on success.”

Ducos backs up King’s assessment.

“Moving All Points East to the same weekend as Rock en Seine was a huge step,” he tells IQ. “I agree we have the strongest line-up we’ve ever had, so it’s great to start this new version of Rock en Seine after a two-year stop.

“Usually, about 60% of the festival-goers come from the Paris region and 40% from other regions of France and abroad. We will have more people from abroad than usual, that’s for sure, because we have some bands that are doing only a few shows in Europe, like Arctic Monkeys, so people are coming from far away to see them.”

“We have great ambitions that it will continue to grow”

With the festival expanding from three to four days for the first time this year, King elaborates on the ambitions to grow Rock en Seine’s international appeal.

“You look at some of the other successes around mainland Europe where they have become destination festivals for a multinational audience, and for whatever reason Rock en Seine had lost that, or was not that,” he says. “But I think it certainly is developing into that and we have great ambitions that it will continue to grow because Paris is such a great city and so easy to travel to. Once you’re there, there’s so much to do. So why only do it for two days or three days?

“The ability to attract great talent is based on many things: the offer, the routing, but obviously where you’re going to and what we were able to do with Rock en Seine is to be more ambitious with the acts that we wanted to attract and then, with that, be more ambitious with the audience that we want to attract to see those acts.

“I think you’ll see great developments in the range of people – and the countries they originate from – coming to Rock en Seine over the next five years.”

In a setback for organisers, a planned standalone date on 30 August, headlined by Rage Against the Machine, with support from Run The Jewels and Frank Carter and the Rattlesnakes, was scrapped last week on “medical guidance” due to an injury sustained by RATM frontman Zach de la Rocha.

Nonetheless, Ducos suggests AEG’s backing puts Rock in Seine in a strong position as it looks to enhance its reputation year-on-year.

“Paris doesn’t have a history of iconic, pop/rock music festivals,” he says. “We’ve been there for 18 years now and we did a great job, but I think we can go further and become an iconic festival in this great city. I’m quite confident about our power and attractiveness to book the rock, pop, but also electro and hip-hop acts we want in the future.”

 


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