NEC Birmingham signs up to festival trade bodies
The NEC Birmingham has joined the Association of Independent Festivals (AIF) and the Association of Festival Organisers (AFO) as it seeks to explore new opportunities within its events diversification strategy.
The NEC is the UK’s largest exhibition venue, with 18 interconnecting halls in addition to more than 387 acres of hard-standing ground and 59 acres of woodland.
Post-pandemic, the campus has adapted its commercial approach to broaden its festival proposition, staging the 45,000-cap Wireless Festival outdoors with Festival Republic in July last year. It also hosted Slam Dunk Festival in 2014.
“We work closely with many trade bodies across the live music and events industry, contributing to policies, key initiatives and lobbying activity. It is important that we listen to the wants and needs of more event genres as we diversify our offer” says Richard Mann, new business director for the NEC, which also owns ticketing agency The Ticket Factory.
“We are in discussions with festival organisers about events for this year and beyond”
“We’re a large site with big ambitions to bring a greater mix of events to the Midlands. We are in discussions with festival organisers about events for this year and beyond. Our audience database for the NEC and our arenas is comprehensive. The challenge for us is bringing new events to the region which can revitalise the local festival and events landscape.”
AIF CEO John Rostron says the move represents a big addition to the AIF membership.
“Not only does it demonstrate creative thinking from NEC Group, it also points to the value of AIF as a resource to businesses connected to the festival industry, alongside the promoters themselves,” he says. “We look forward to working closely with the NEC, carving new opportunities for both the venue and our festival members, and promoting the interests of the sector more broadly.”
Steve Heap, general secretary of the AFO, adds: “We are delighted that the NEC has joined us. AFO’s credibility has built gradually since we formed in 1987, and we now have more than 150 grassroots festivals, many of whom move sites from year-to-year, that would welcome engagement with the venue. We look forward to working more closely with the NEC as the year progresses and beyond.”
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AIF’s Paul Reed on what’s next for indie festivals
Outgoing Association of Independent Festivals (AIF) chief Paul Reed has praised the “diverse, vibrant” sector but warns it still faces a “myriad of challenges” as he prepares to depart the trade body.
Reed, who exits the UK organisation this week after a fruitful nine-year stint, is set to join the Musicians’ Union (MU) as North of England regional organiser.
“I have long admired the Union’s vital work and it is crucial that musicians are supported and represented. Their work underpins our entire industry,” he says. “On a personal level, it is fantastic to be working for an organisation that my grandfather, a trumpet player, was a member of for most of his life.
“I look forward to working alongside the team to advance and protect the interests of MU members across the North of England, returning to the region that I started my career in as a live music promoter. I can’t wait to get started.”
Sŵn Festival co-founder and former Welsh Music Foundation chief John Rostron has already been named as Reed’s successor at the AIF. He officially begins his tenure on 18 November. Rostron is a former AIF member and vice-chair and also founded the Association of Independent Promoters (AIP).
“Despite the short term challenges, I’m not worried about the long term health of the sector”
“I’m delighted that John has accepted the job,” Reed tells IQ. “We had just under 40 applications and interviewed seven people. It was a very rigorous interview process, including asking each candidate to set out their vision for their first six months to a year in the job, and John certainly made a big impression.
“He’s a former member and vice-chair of the organisation and has been a promoter, and he was actually inspired by the AIF to set up AIP, which was very much influenced by our model, so he has experience of setting up a trade association successfully. We had some very strong candidates, but we ultimately felt that John had the edge.”
Turning his attention to the independent festival scene as a whole, Reed suggests the market is still “very much in recovery phase” following the lost years of the pandemic.
“It’s still facing a myriad of challenges,” says Reed. “People are grappling with pricing – what is the appropriate price point in the economic context? But on the more positive side, it’s a very diverse, vibrant sector that is about risk taking and I feel that is an important part of the cultural fabric of this country. They take those risks, put on those shows and enable audiences to enjoy them, and I think that will remain important.
“Despite the short term challenges, I’m not worried about the long term health of the sector. To summarise, people need these events and they need a trade association that represents them as well.”
“AIF won’t be here for the next crisis if it isn’t invested in during times of less extreme turbulence”
The organisation has seen its membership grow more than 137% (from 40 to 95) under Reed’s leadership, with AIF now representing just under half of all UK festivals that are 5,000+ capacity.
“I know how difficult it is for festival organisers right now with cost increases, the supply chain and the impact of the cost of living crisis,” he says. “But AIF won’t be here for the next crisis if it isn’t invested in during times of less extreme turbulence. So I’m grateful to all the members that have continued to see value and supported us.”
AIF has won a number of other key battles for independent festivals with Reed at the helm, including convincing the Home Office to not undertake a detrimental review of Special Police Services charges for events; achieving a reduction in the PRS rate for festivals following an industry-wide, three-year negotiation; and triggering parliamentary debates on business rates for festival and event sites.
During the Covid-19 pandemic, meanwhile, AIF successfully lobbied government for festival inclusion in the Culture Recovery Fund, and supported each member festival application – 70% of which were successful, unlocking over £11m in survival funds for festival promoters.
“I saw an opportunity to turn AIF into an organisation that had sharper teeth”
AIF also financially supported the recent launch of a Green Events Code, developed by industry steering group Vision:2025, which is intended to provide clear standards and shared targets for sustainability that are understood and adopted by all stakeholders across the outdoor festival and events industry, including net zero.
And reflecting on his legacy at the association, Reed adds: “I saw an opportunity to turn it into an organisation that had sharper teeth. I thought there were a number of issues that we could have a real impact on in terms of campaigns and I think the focus is where it needs to be.
“I feel that I’m leaving an AIF that is listened to, because it’s trusted and credible. We’re open and pragmatic, but we’re absolutely dogged in the pursuit of advancing and protecting our members. So I think it’s in pretty good shape and it’s in incredibly good hands as we look towards the next phase.”
Subscribers can view Reed’s recent Comment piece for IQ Magazine here.
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Attitude is Everything partners with AIF, AFO, BAFA
Live events accessibility charity Attitude is Everything has partnered with the Association of Independent Festivals (AIF), the Association of Festival Organisers (AFO) and the British Arts Festival Association (BAFA) to support their memberships to play their part in making 2023 the most accessible summer yet.
Collectively, these organisations represent more than 200 events that attract more than 1m ticket buyers each year. Members include some of the UK’s best-loved music and arts festivals, such as Boardmasters, Boomtown Fair, End of the Road, Cambridge Folk Festival and the BBC Proms.
Under the banner #FestivalsWithoutBarriers, the associations and festivals have been issued with three calls to action in order to help improve the live event experience for, and increase the attendance of, disabled customers:
- Plan to provide quality access information to disabled audiences at the point of tickets going on sale by implementing Attitude is Everything’s Access Starts Online guidance.
- Integrate questions about access requirements into the artist booking process.
- Implement practical changes to make festival workplaces and festival volunteering accessible to disabled people.
Attitude is Everything will support AIF, AFO and BAFA members to implement these actions via their existing Access Starts Online and Accessible Employment Guide publications, alongside the publication of new guidance on inclusive artist booking for festivals and a forthcoming guide to accessible volunteering.
In addition to these resources, the partnership between the four organisations aims to offer members:
- Introductions to Attitude is Everything’s Live Events Access Charter and subsidised Disability Equality Training, delivered in part by participants on the charity’s Future Leaders programme for aspiring disabled event industry professionals.
- A series of symposiums on implementing the four guides.
- Opportunities to learn from the lived experience of disabled audience members, artists and professionals drawn from the charity’s three networks of disabled people.
“The experiences of disabled people over the 2022 festival season appear to have been quite mixed”
On the announcement of the initiative, Suzanne Bull MBE, founder of Attitude is Everything, says: “I see this new partnership between Attitude is Everything, AIF, AFO and BAFA as a powerful force in transforming the industry. The experiences of disabled people over the 2022 festival season appear to have been quite mixed, especially when it comes to availability of pre-event information, booking accessible tickets and the level of access onsite. Working together we will drive through the change necessary to improve access for disabled audiences, artists, employees and volunteers. As a disabled person, I’m looking forward to a stress-free festival season in 2023!”
Paul Reed, outgoing CEO of AIF, adds: “We’re very pleased to expand our long-term partnership with Attitude is Everything on this initiative. It has been seven years since we launched Access Starts Online together and this expands the remit to artists, changes in the workplace and vital training opportunities for AIF members. Accessibility at festivals is truly a cross-sector issue and it’s hugely positive to see our friends at AFO and BAFA also get onboard. Let’s work together to ensure that 2023 is the most accessible year for UK festivals yet.”
Steve Heap, general secretary of AFO, comments: “The Association of Festival Organisers (AFO) has been working alongside Attitude is Everything for some years now in a drive to improve accessibility both in the audience and on stage for deaf and disabled people. The AFO is now very pleased indeed to be sitting with such a powerful and positive organisation that intends to help guide members and increase access and participation in 2023. With 14.6 million people in the UK being disabled there is a vast potential audience that may not be attending festivals for fear of inaccessibility. Here at AFO we are now discovering more and more disabled performers who could form part of our programme and helping our AFO members make their festivals more accessible. We look forward to supporting and working with Attitude is Everything for some years to come.”
Fiona Goh, director of BAFA, says: “British Arts Festivals Association (BAFA) is delighted to be working alongside its sister organisations, AFO and AIF, in helping to make 2023 the most accessible year yet for UK festivals. Our partnership with Attitude is Everything will help guide our members to increase access and participation by disabled audiences, artists and staff, beginning at the point of sale and running right through festival delivery. There’s never been a more important time to ensure that festivals are accessible to all, and we look forward to seeing a more diverse and inclusive audience in our festivals next year.”
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Sŵn Fest founder John Rostron named new AIF CEO
Former Welsh Music Foundation chief John Rostron has been named as the new CEO of the UK’s Association of Independent Festivals (AIF).
His appointment was announced during today’s (2 November) AIF AGM, with Rostron officially beginning his tenure on 18 November following a two-week handover period with current CEO Paul Reed.
Rostron, who co-founded Sŵn Festival in Cardiff in 2007 and completed an exit strategy sale in 2018, is a former member and vice-chair of AIF and is also the founder and current chair of the Association of Independent Promoters (AIP).
“There are plenty of ways that AIF can and will make a meaningful difference for its members”
“It’s a great honour to take on this role at a time when AIF feels more important than ever,” says Rostron. “My thanks to outgoing CEO Paul Reed for all he has done for the organisation in raising its profile, value and relevance.
“Festivals are facing numerous challenges as they grapple with pricing alongside growing costs across the supply chain, all while music fans themselves face a cost-of-living crisis. Add to that a vital renewed focus on climate action, audience welfare and diversity, equity and inclusion, and there are plenty of ways that AIF can and will make a meaningful difference for its members.”
Rostron, who will step down from his role at AIP upon starting at AIF, co-founded the Welsh Music Prize and has also held consultant and advisory roles at Arts Council Wales and Sound Diplomacy, as well as having been a development manager at From The Fields.
“John is a tremendously experienced executive, having fulfilled a range of high-level positions at many respected organisations”
Rostron joins recently appointed AIF chair and Notting Hill Carnival CEO Matthew Phillip in leading AIF into a new era.
“It’s a pleasure to welcome John to AIF,” says Phillip. “He’s a tremendously experienced executive, having fulfilled a range of high-level positions at many respected organisations, and with a track record of advocacy and championing independent music businesses. Paul Reed has done an exceptional job in growing AIF both in membership and influence, and I’m confident that John will help continue that trajectory, as well as taking AIF in new directions.”
Vice-chair Nick Morgan will stay in his role for several months to support the new CEO and chair and ensure continuity.
Four new members were also rotated onto the AIF board of directors at today’s AGM: Steven Campbell (CEO, Eskimo Dance), Suze Bayliss (festivals and marketing director, Vision Nine – Boardmasters and NASS), Stefan Poelman (co-founder and director, Zenfest), and Joe Barnett (managing director, New Bohemia Music – We Out Here, Outlook and Dimensions Festival).
AIF has also confirmed that its annual flagship Festival Congress event will return to Bristol for the second year in February 2023, with new venues for both the conference and festival party. Dates will be confirmed soon.
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IQ 114 out now: Di and Gi, Green Guardians, Stadiums
IQ 114, the latest issue of the international live music industry’s favourite magazine, is available to read online now.
The October edition sees writer Derek Robertson take the temperature of the global stadium circuit post-Covid for Pitch Perfect: Stadium Report 2022.
This issue also reveals the New Bosses 2022, as well as the Green Guardians Guide – a review of the latest and greatest innovations helping to green the industry.
IQ readers can also enjoy a double whammy of Italy-related content, with writer Adam Woods examining the state of the country’s live music industry for a market report on p56, and IQ news editor James Hanley ringing in Di & Gi’s 35th anniversary on p28.
Elsewhere, IQ reviews the eighth edition of the International Festival Forum (IFF), which saw a record 800 delegates from 40 countries flock to London last month.
For this edition’s columns and comments, Ticketmaster’s Sarah Slater talks about the record-breaking summer of events and outgoing AIF CEO Paul Reed on the past, present, and future of the festival sector.
As always, the majority of the magazine’s content will appear online in some form in the next four weeks.
However, if you can’t wait for your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ from just £6.25 a month – or check out what you’re missing out on with the limited preview below:
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Ex-WWE marketing boss named UK culture secretary
Michelle Donelan has been named as the UK’s eighth culture secretary in five years as part of a cabinet reshuffle by new prime minister Liz Truss.
Donelan, who succeeds Nadine Dorries in the post, worked in the media and entertainment business prior to becoming an MP in 2015, serving stints with Pacific Magazines, The History Channel and WWE (World Wresting Entertainment), where was employed as an international marketing communications manager.
She was appointed education minister in 2021 and was briefly education secretary this past July, stepping down after 48 hours amid mass resignations by more than 50 government members in protest at then PM Boris Johnson’s leadership.
Live music trade bodies have welcomed Donelan to her new role while stressing the urgent challenges facing the sector.
“Congratulations to Michelle Donelan MP on her appointment as secretary of state at DCMS,” says outgoing Association of Independent Festivals CEO Paul Reed. “It remains a uniquely challenging time for festivals as we look to the 2023 season. Although now fully operational, we are still in a recovery phase, facing an ongoing perfect storm of rising costs, supply chain issues, record low consumer confidence and audiences making extremely difficult choices due to the cost of the living crisis.
“We look forward to working closely with the minister and ensuring appropriate interventions and support for our culture defining festival sector, which generates £1.76bn GVA for the UK economy annually and supports 85,000 jobs.”
“We need urgent government action on the energy crisis which threatens to permanently close hundreds of grassroots music venues”
The UK’s Music Venue Trust (MVT), meanwhile, has used the opportunity to reiterate the need for intervention to combat the surge in energy bills that threatens the future of around 30% of the entire network of venues.
“We need urgent government action on the energy crisis which threatens to permanently close hundreds of grassroots music venues,” says venue support manager Clare Cullen in a social media post. “In the short term this will require financial interventions to tackle extraordinary price rises. In the longer term, we need [Donelan’s] department to investigate the energy market for music venues (and the rest of the hospitality sector) and to work with us to find a way to to make energy supply reliable, sustainable, and affordable.”
With MVT chief Mark Davyd previously revealing that Dorries was the first culture secretary to decline a meeting with the organisation since it was founded in 2014, the organisation is keen to establish a relationship with her successor.
“The UK’s grassroots music venues face multiple challenges to their resilience, sustainability and economic viability,” says Cullen in an open letter to Donelan. “These challenges are solvable. Music Venue Trust would like to invite you to attend a Parliamentary event on 14 September in which we will be describing just one of these solutions – our plan to change the ownership model so that the music community itself has a say in the future if grassroots music venue. We need to #ownourvenues
“We want a working relationship with you and your department that delivers positive change for UK artists and venues. To that end we have today formally requested a meeting with you at your earliest opportunity. Music Venue Trust has met with eight of the nine previous secretaries of state for DCMS that have held this post since our creation in 2014. We look forward to meeting with you so we can begin the work of creating a truly world beating grassroots live music sector.”
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AIF chief Paul Reed to step down
Association of Independent Festivals (AIF) chief Paul Reed is stepping down from his role after nine years at the trade body.
Reed, who will exit AIF in November, has served as general manager and latterly CEO of the organisation, which has seen its membership grow more than 137% (from 40 to 95) under his leadership. AIF now represents just under half of all UK festivals that are 5,000+ capacity.
AIF has won a number of key battles for independent festivals with Reed at the helm, including convincing the Home Office to not undertake a detrimental review of Special Police Services charges for events; achieving a reduction in the PRS rate for festivals following an industry-wide, three-year negotiation; and triggering parliamentary debates on business rates for festival and event sites.
During the Covid-19 pandemic meanwhile, AIF successfully lobbied government for festival inclusion in the Culture Recovery Fund, and supported each member festival application – 70% of which were successful, unlocking over £11m in survival funds for festival promoters.
“I’m proud to be leaving an organisation with a growing membership that has real influence on government and wider industry”
“Leading the AIF for nine years has been an incredible journey, and I’m proud to be leaving an organisation with a growing membership that has real influence on government and wider industry,” says Reed. “AIF has achieved some hugely impactful public campaigns and remains very visible and responsive to the needs of its members.
“The organisation rose to the challenge of representing and supporting members throughout the devastating impacts of Covid. With the first full festival season since the pandemic drawing to a close, it feels like the right time for me to seek new challenges, and an opportune time for AIF to appoint new leadership.”
Reed also took AIF from being a division of the Association of Independent Music (AIM) to becoming an autonomous limited company in 2018, and programmed six editions of AIF’s flagship Festival Congress.
The organisation is now seeking a successor, with application information available on the AIF website.
“I hope to share details of my next steps in the music industry soon but, in the meantime, I would like to thank all the AIF members who have supported us, as well as board members, past and present and the partners and the staff I’ve had the pleasure of working alongside,” adds Reed.
“Despite the challenges independent festivals continue to face, doing this job has been an enormous privilege and hugely enjoyable. The contribution that AIF members make to the UK on an economic and cultural level is undeniable, not to mention the immeasurable impact festivals have on well-being and mental health. The sector will remain close to my heart, and I look forward to seeing AIF and its membership continue to thrive.”
“Paul has done an incredible job for the AIF, raising the profile of independent festivals, and ensuring their voices were heard alongside the global corporations”
AIF board members have paid tribute to Reed’s contribution.
“These are going to be big boots to fill,” says Zac Fox, AIF board member and COO of Kilimanjaro Live. “Paul has done an incredible job for the AIF, raising the profile of independent festivals, and ensuring their voices were heard alongside the global corporations. His work during the pandemic was exemplary and its arguable that the survival of a number of festivals could be attributed entirely to what he achieved on their behalf. He’ll be very much missed by our entire industry, and I envy those who he’ll be fighting for next.”
AIF vice-chair and We Are The Fair CEO Nick Morgan adds: “Paul has been instrumental in the success of AIF over the last nine years, lobbying various Government departments to ensure we as an industry are never forgotten. Paul was one of the key industry figureheads during the pandemic fighting on behalf of the independent festival sector, ensuring the DCMS better understood our sector during one of the most turbulent periods in our industry’s history.”
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UK live organisations react to PM’s resignation
The UK’s live music industry is facing up to a further period of uncertainty following the resignation of prime minister Boris Johnson.
Johnson, who succeeded Theresa May in 2019, is stepping down as Conservative leader after a controversial three-year reign, but has stated his intention to remain as PM until the autumn, when his successor is decided in a leadership contest.
“It is clearly now the will of the parliamentary Conservative Party that there should be a new leader of that party and therefore a new prime minister,” he said.
His announcement, made outside Downing Street this morning, came on the heels of an extraordinary few days in British politics, which saw mass resignations by more than 50 government members in protest at the PM’s leadership – a crisis triggered by revelations that Johnson was aware of allegations against MP Chris Pincher prior to appointing him as deputy chief whip earlier this year.
Members of UK trade body LIVE have given their reaction to the news, with Association of Independent Festivals (AIF) CEO Paul Reed outlining its ramifications for the live sector.
“The resignation of the PM and subsequent disruption further complicates and slows down the policy making process,” he tells IQ. “It effectively puts the government in a holding pattern until a leadership contest is concluded, when we need intervention on VAT and further support during this recovery phase, in which festivals are facing a range of very difficult trading conditions.”
“The last 24 to 48 hours have been the most turbulent times in British political history”
Dave Keighley, chair of the Production Services Association (PSA), describes Johnson’s exit as “inevitable”.
“The last 24 to 48 hours have been the most turbulent times in British political history,” says Keighley, speaking to IQ. “It was, in my mind, inevitable that Boris Johnson was left with no alternative but to resign. I for one, thought he should have resigned when he was issued with a fine for breaking lockdown rules. In the end it is always the lies and deceit that cripple politicians and their careers.
“Boris has been the victim of his own arrogance, selfishness and stubbornness. Let’s hope the party and government can find a replacement as soon as possible.”
The move has also created speculation regarding the culture secretary position, currently held by Johnson loyalist Nadine Dorries.
The Music Venue Trust’s CEO Mark Davyd told Music Week that Dorries, who became the seventh politician in less than five years to hold the post when succeeding Oliver Dowden in 2021, was the first culture secretary to decline a meeting with the organisation since it was founded in 2014.
Media, digital and infrastructure minister Julia Lopez and tech and digital economy minister Chris Philp, meanwhile, both joined the government exodus earlier this week.
LIVE CEO Jon Collins recently spoke to IQ about how the government could help the live music industry navigate its well-documented post-pandemic challenges.
“Significant cost pressures and the cost-of-living squeeze mean trading remains challenging,” he said. “It is of vital importance therefore, that the government takes steps to support those across the live music ecosystem. In particular, introducing a cultural rate of VAT on ticket sales which would secure the sector’s recovery, boost the UK economy and deliver many more weekends like the one that lies ahead.”
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Notting Hill Carnival boss named new AIF chair
The UK’s Association of Independent Festivals (AIF) has named Notting Hill Carnival CEO Matthew Phillip as its new chair.
Phillip is the CEO of London’s leading Carnival development agency, Carnival Village Trust, which is dedicated to supporting and delivering an integrated programme of carnival arts.
In addition, Phillip is the CEO of Notting Hill Carnival Ltd, the organisation that manages Notting Hill Carnival, and MD of Mangrove Carnival Arts CIC.
“The AIF has shown itself to be an incredible champion for independent festival operators – no more so than in recent years, both during the pandemic and what is still now a very difficult time for promoters all over the country,” says Phillip. “It’s with great pride that I take on the role of AIF chair. I look forward to offering my experience and expertise to further the organisation’s great work and help it evolve to meet today’s challenges.”
“It remains a critical time for AIF as we emerge from the worst effects of the pandemic”
Phillip succeeds Jim Mawdsley, who has stepped down after a seven-year tenure.
At AIF, Philip will work alongside the organisation’s board, vice-chair Nick Morgan and CEO Paul Reed.
“Following a robust search for the right candidate, I’m delighted to welcome Matthew as the new chair of AIF,” says Reed. “Matthew brings a wealth of relevant experience in governance and leadership as the CEO of the globally renowned Notting Hill Carnival, among other important roles.
“It remains a critical time for AIF as we emerge from the worst effects of the pandemic. Our members are facing some very difficult trading conditions, and we have a renewed focus on climate action, audience welfare and diversity. AIF’s role as a collective voice and support network to our members remains vital and I look forward to working with Matthew to ensure that the organisation evolves and continues to be a powerful advocate for the independent festival sector.”
Reed recently spoke to IQ about the UK festival sector’s “incredibly challenging” summer.
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‘Incredibly challenging’ summer for UK festivals
The UK festival sector is facing up to an “incredibly challenging” summer, with a mixed picture emerging across the board.
A report in the Guardian earlier this week said that despite flagships such as Glastonbury and Reading & Leeds selling out, many smaller festivals were struggling due to a multitude of factors.
Newcastle’s This Is Tomorrow, Brainchild Festival in East Sussex, Summerfest in Blackburn, Lancashire’s Leighton Live and Fife’s Breakout have all cancelled their 2022 editions as the business recalibrates following the Covid shutdown.
“Festivals are facing some very difficult trading conditions”
“We’re very pleased to be operational this summer after two years of complete or partial shutdown, but festivals are facing some very difficult trading conditions,” Association of Independent Festivals (AIF) CEO Paul Reed tells IQ.
“The key points are increases of 30% or more in infrastructure costs; supply chain pressures – which we’re starting to see play out now we’re in the season – and audiences dealing with a cost of living crisis, so that’s being reflected in some sales patterns. It’s incredibly challenging out there.”
He continues: “I think everyone saw this as a big bounce back year, so promoters engaged in more activity, which puts more pressure on the supply chain. But from an audience consumer point of view, they have more choice than ever and there is a trend across the live industry towards last minute sales. Obviously, there’ll be exceptions with shows that are particularly hot and sell out, but from what I can tell that they’re few and far between at the moment so it’s incredibly nerve racking for a festival promoter.
“Something else we’re seeing is an audience trend towards attending shows internationally, and all of these things affect the domestic market.”
“There seems to be a narrative emerging that some of the larger festivals have sold out and the smaller ones are struggling, but I don’t think it’s as binary as that”
More positive news has emerged outside the UK – at least for the major players – with Austria’s Nova Rock becoming the latest festival to report a record sell-out. Germany’s Rock am Ring recently announced that a record 90,000 weekend tickets had sold for its 2022 edition, while twin festival Rock im Park shifted more than 70,000 tickets. Belgium’s Rock Werchter and Brazil’s Rock in Rio, meanwhile, sold out in record time.
However, contrary to reports, Reed stresses the issues experienced in the UK at least are not limited to events of a particular size.
“There seems to be a narrative emerging that some of the larger festivals have sold out and the smaller ones are struggling, but I don’t think it’s as binary as that,” he says. “Some small-to-medium-sized festivals have sold out. I know there has been a small trickle of cancellations, but I’m not expecting mass cancellations this season.
“The sector has proved to be remarkably resilient in the face of existential challenges, so it’s not all doom and gloom.”
“We’ve talked a lot about the problems, but not much about what can be done to alleviate them”
Reed suggests the government could also do more to help get the industry back on its feet.
“We’ve talked a lot about the problems, but not much about what can be done to alleviate them,” he says. “Festivals are often thought of as fun parties, which of course they are, but they’re also an economic powerhouse, generating £1.76 billion in GBA and supporting 85,000 jobs.
“There are interventions from government that would be helpful: for example, a cultural VAT rate – preferably of 5% – on tickets, which would bring us in line with many other countries across Europe. Also, encouraging incentivising people to get back out there to events – Spain approved a plan for 18-year-olds to receive €400 to spend on the arts and France and Italy have similar plans from what I understand as well.
“Obviously, the sector is very pleased be back delivering festivals for audiences, but I think people are looking towards next year as the kind of reset year where many of these issues will hopefully be resolved.”
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