Festival Focus: Pukkelpop, Belgium

The European Festival Report (EFR) 2024, a packed annual summary of the biggest trends, happenings, and initiatives on the continent’s festival scene, was published last month.

In this excerpt from this indispensable guide, Pukkelpop promoter Chokri Mahassine discusses speedy sell-outs, major challenges, sustainable choices and the integration of technology into the festival experience.

How was the festival season 2024 for you and Pukkelpop?
This year was a special one! Our combi-tickets (for the whole weekend) were sold out in 48 hours. Never in our history has this happened so fast. This led to a further rush on day tickets. We were used to spending months building a beautiful and well-thought-out promotional campaign, but suddenly, we were technically out of work – figuratively speaking. Something I hadn’t considered was that communication about the festival and the lineup would disappoint people who weren’t able to secure a ticket, instead of making those that did get one happy. Adjusting our communication to this conflict of interest was an interesting learning process.

The festival days were some of the best we’ve ever had: the energy of the crowd was amazing, the atmosphere was fantastic, the weather was good, and the lineup, with Fred again.., Sam Smith, and Charlotte de Witte, was nearly perfect. It’s always great to see people of all ages coming to Pukkelpop to enjoy music, culture, and adventure together. Next year marks our 40th anniversary, and of course, we’re going to make something special out of that, too.

“Our combi-tickets were sold out in 48 hours… never in our history has this happened so fast”

What are some of the challenges you face as a festival organisation, and how do you try to address them?
Increasing costs, artist fees, production costs, and employment costs remain a major issue in our scene. Additionally, you have to keep evolving in terms of mobility, safety, and impact on the local community. First of all, we try to work more efficiently and to form strategic partnerships. We also frequently consult with other Belgian [competitor-colleagues] both large and small.

In addition, we continue to programme new and emerging artists to offer an adventurous lineup without being entirely dependent on the most expensive headliners. However, even starting bands nowadays cost a fortune. It’s a delicate balance, especially since this directly affects ticket prices.

What measures are you taking to promote sustainability at Pukkelpop, and why is this important to you?
Sustainability is embedded in Pukkelpop’s DNA. For years, we’ve been working on initiatives such as reducing waste and using green energy. This year, we became the first major festival in Belgium to run all generators, forklifts, and site buggies entirely on Blue Diesel 100. We introduced a new project focused on recycling party tents, and for many years, public transportation has been included in our tickets. This is something we are fully committed to.

As a festival, we want to have a positive impact not only on our visitors but also on the environment and the local community. Festivals have a responsibility to raise awareness and encourage sustainable choices. It’s essential that we take the lead and continue investing in sustainability.

“I see a further integration of technology into the festival experience, such as AI, augmented reality, and interactive elements”

What role do you think festivals play in the cultural landscape of Europe?
Festivals are more than just places to experience music; they are meeting points for different cultures, generations, and beliefs. Pukkelpop has always aimed for diversity and inclusivity, both on stage and in the audience. We want to inspire and connect people, and we try to do this by providing a diverse lineup that goes beyond just music. There is no shortage of good food and drinks; Pukkelpop is also a culinary experience. The cultural and economic impact of festivals is significant, and we are happy to contribute to strengthening that cultural dynamic in Belgium and in Europe.

What are the biggest changes you have observed in the festival world since the pandemic?
The pandemic has shocked the industry into action. There has been a shift in the behaviour of the audience: people, especially the younger generation, have become more selective about the events they attend. They want value for their money and are looking for unique experiences. For us, this means that we must remain creative and keep innovative, in terms of experience, sustainability, and of course regarding the lineup.

What trends do you think will be decisive for festivals in the coming years?
I see a further integration of technology into the festival experience, such as AI, augmented reality, and interactive elements that make the experience even more intense. Additionally, sustainability will be more important. Festivals that do not evolve will face difficulties. The focus on health and safety remains important; people want to feel safe at an event, and we should take care of that. Pukkelpop consolidates all support related to well-being and safety in a separate zone. We are available day and night for festivalgoers, crew, and artists. Finally, I believe that festivals will focus on inclusivity and diversity, both in the lineup and the audience.

The third edition of the European Festival Report, from IQ and festival association Yourope, is available to read online for free.

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