The Association of Independent Festivals (AIF) has announced a new support package for UK indie festivals forced to take a fallow year.

The Fallow Festival Fund was launched today (5 February) at AIF’s flagship Festival Congress in Bristol, in partnership with the event’s headline sponsor Citizen Ticket.

It follows a brutal year for the UK sector, with a record 78 festivals announcing a postponement, cancellation or complete closure over the course of 2024 – more than double the amount of the preceding 12 months. Four festivals have been cancelled in 2025 so far, with three of those opting to take a fallow year in efforts to return in 2026.

“There will be more festivals out there who are close to making this call,” says AIF CEO John Rostron. “Being there alone trying to make your event work is tough. I know how much festivals value being a part of the AIF community, particularly when times are hard. It’s good to have people around you who can listen, understand and offer support.”

AIF is offering free one-year memberships to independent events currently outside its network, enabling them to access the trade body’s services and resources.

Financial donations to the Fallow Festival Fund will enable AIF to buy support from third parties to offer fallow festivals key services such as time on a legal helpline to review contracts, a financial health check to potentially bring about savings or improve cashflow, a production consultancy and a revenue review consultancy to improve or add income streams to their event. More services will be added to meet festivals’ particular needs in response to demand.

“Every contribution – small or big – will make a difference and I hope that as the year goes on some of those events in a fallow year will be supported by this fund and have the tools, techniques, innovations and confidence to give them the lift they need to return in 2026,” says Rostron.

“We believe a State of Play inquiry into festivals will demonstrate the desperate need for more support for independents”

An industry-wide call has also been made for further financial or service donations from festival suppliers and other organisations across the music business who are able to help.

Meanwhile, Citizen Ticket has pledged free use of its ticketing and bookings platform for festivals and events selling up to 2,000 tickets. Promoters running a larger event can sell their first 2,000 tickets free of charge.

“Every time a crisis hits we’ve done our best to support small and independent festivals in any way we can,” adds Citizen Ticket CPO Phil Hayes. “We’ve partnered with the AIF on Festival Congress five times and we wanted to take our partnership to the next level with this fundraiser. We are urging other suppliers who are able to offer something to please do so before more festivals are forced to cancel.”

Festivals interested in taking advantage of the fund and package of support are urged to register their interest here. Those who can offer services or discounted services to festivals on fallow years should contact AIF at [email protected]

Separately, AIF has issued a rallying cry after calling for the UK’s Culture, Media & Sport select committee to begin a ‘State of Play’ inquiry into the future of UK festivals.

“We need the whole festival sector to get behind us,” adds Rostron. “The MPs on this committee have the power to lobby the government for the support we need. We believe a State of Play inquiry into festivals will demonstrate the desperate need for more support for independents. Through this submission to the CMS Committee, we can champion the changes needed for the survival of UK grassroots, independent festival culture.”

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Association of Independent Festivals (AIF) chief John Rostron has shared his forecast for the 2025 season in the wake of one of the most turbulent years in the sector’s history.

The list of UK festivals to have announced a postponement, cancellation or complete closure in 2024 has reached 78 – more than double the amount that fell in 2023.

Cambridge’s Strawberry Fair and Cambridge Club Festival have become the latest to confirm they will not take place next year, while Chepstow’s Balter Festival has also announced its 2025 edition will be its last.

And although Rostron sees small signs of improvement for the circuit overall, he does not anticipate a swift reversal in its fortunes.

“I think there will be more closures next year,” he tells IQ. “It’s tough [to say] at this time of year and I want to say that the closures will stabilise. I really hope that we do not get to the level we got to this year and I’d love for those that are operating to be able to get through. But I’m squeezing my hands here and there is a lot of that going on.

“We’re in a situation now where this is maybe the end of the wildness. It’s calming down, but it’s still stretched – and that’s the challenge.”

Crucially, with rising supply chain costs having blighted the business coming out of Covid, there does finally appear to be grounds for encouragement.

“There is positive news, which is that some of those supply chain companies are getting back to full capacity and are therefore beginning to do longer-term deals, which they were reluctant to do,” explains Rostron. “That makes it much easier going into the next year’s events, because everybody knows what they’re doing and where they need to go, so that’s helping to stabilise that [issue]. But there are still lots of problems around staffing, with the exodus of talent and not enough time for new people to come in and get established.”

“We have one fire that the government could put out with one hose and that would be it”

In addition, the organisation continues to be frustrated in its calls for a temporary VAT reduction from 20% to 5% on festival tickets that it says would save many event promoters from closure. Rostron admits to being disappointed with the government’s inaction on the issue.

“It’s so frustrating, because I look around at the challenges of some other trade associations, and they’ve got 100 fires going on, so if you put one out, there’d still be 99 to go,” he reasons. “We have one fire that the government could put out with one hose and that would be it.

“The evidence is there: when you look through all the cancellations, some of those events would have still gone because their time was up, but the others were all saveable with that one change. It’s heartbreaking.”

Despite the sector’s ongoing struggles, the AIF – whose annual Festival Congress returns to Bristol Beacon on Wednesday 5 February – recently reported the total ticketed capacity of its members in the UK now stands at more than one million, with the collective having grown to 146 UK independent festival promoters.

“I’m proud the AIF membership has grown so enormously over the last year,” adds Rostron. “The challenges that independents face in this environment are so severe now that it’s really important that they are together to try and take those on, and I’m quite confident that we will.”

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The first wave of top UK festivals have made their first lineup announcements for next summer.

Set for Seaclose Park, Newport from 19-22 June, Isle of Wight Festival 2025 will be headlined by Sting, Stereophonics and Justin Timberlake.

The festival will also welcome Faithless, The Script, Paul Heaton featuring Rianne Downey, Teddy Swims, Texas, Olly Murs, Clean Bandit, Example, James, Alison Moyet, Dean Lewis, The Lathums and Lottery Winners, among others.

An exhibition celebrating the history of the iconic festival, Experience 25 is running at London’s The O2 between 19 September and 13 November to mark this year’s 25th edition – including the three original events held in 1968-70.

Elsewhere, Sting is also the first headliner confirmed for Latitude Festival, which is slated for Henham Park, Suffolk, from 24-27 July. The STING 3.0 Tour launched at Radio 2 in the Park in Preston earlier this month.

“We’re thrilled to announce Sting as our first headliner for Latitude 2025,” says Latitude director Melvin Benn, MD of Festival Republic. “His unparalleled artistry and the exciting new direction of the STING 3.0 shows perfectly align with Latitude’s mission to deliver a rich and diverse cultural experience. Sting’s extraordinary ability to transcend musical boundaries and deliver unforgettable live performances makes him an exceptional addition to next year’s lineup.

“Latitude is known for captivating audiences with a mix of global headliners and emerging talent, and Sting is just the first of many incredible acts to be revealed – there’s much more to come.”

Sting will also visit Tetbury Forest Live, Westonbirt Arboretum (18 June), Liverpool Pier Head On the Waterfront (22 June), Glasgow Summer Sessions @ Bellahouston Park (25 June), Cannock Forest Live, Cannock Chase (27 June) and Cardiff Depot Live, Cardiff Castle (28 June).

“Everyone we are announcing today is an absolute music icon and we can’t wait to welcome them to Lytham”

In the North West, Alanis Morissette, Justin Timberlake and a double bill of Simple Minds and Texas will headline TK Maxx presents Lytham Festival 2025, which takes place from 2-6 July. Details of the two remaining headliners and special guests will be revealed soon.

“Everyone we are announcing today is an absolute music icon and we can’t wait to welcome them to Lytham,” says Lytham Festival co-founder Peter Taylor of promoter Cuffe & Taylor. “And we’ve not finished there. Watch this space as we still have our Wednesday and Thursday headliners plus a lot of special guests to announce in the coming weeks.”

Cornwall’s Eden Sessions has confirmed The Script as its first 2025 headliner. The group will appear on 25 June, with support to include Tom Walker.

Meanwhile, the UK’s Association of Independent Festivals (AIF) is launching a bespoke free business support programme for multi-venue festivals thanks to funding by Arts Council England.

Launching in October, the project will offer free custom online training and support over the next six months alongside access to a dedicated in-person programme at AIF’s Festival Congress in Bristol in February 2025, as well as creating a new network with new resources.

It also promises to provide custom business support and industry skills development for this cohort through online, expert-led webinars, as well as peer-to-peer roundtables and training in key areas of pressure or opportunity based on research carried during the programme’s design stage.

Topics covered will include: preparing for The Protection of Premises Bill (aka Martyn’s Law); managing multi-venue PRS licensing; identifying accommodation and travel partnership revenue opportunities; environmental and accessibility event challenges; and an introduction to funding opportunities for promoters, artists and industry professionals.

“It’s thrilling that festivals of all sizes will be able to come together to meet, share and learn”

“I’m delighted that, with the support of Arts Council England, we can offer free direct support to festivals outside of our membership though this bespoke six-month programme,” says AIF CEO John Rostron. “We have never been able to do this before, and it’s thrilling that festivals of all sizes will be able to come together to meet, share and learn, connecting with festival professionals across legal, licensing, revenue generation, funding, sponsorship, and so much more.”

In addition, there will be responsive, bespoke training to meet the particular requirements of multi-venue festival promoters, with each festival to be allocated a small fund for one-on-one legal, financial or licensing health checks or advice as required for their own challenges or needs.

“Multi-venue music festivals are particularly important to me, as they are where I cut my teeth as a music promoter,” adds Rostron, who co-founded Cardiff’s Sŵn Festival. “Working with the built environment, they so often bring a town or city to life – acting as a catalyst for a music scene, or celebrating a particular place, genre or music ecology. Working in existing venues, or creating new spaces in and around the area, they regularly change shape as the area develops or as their audience grows or moves, which can be as exciting as it is challenging.”

Shared resources will be collated and developed following online expert sessions and Festival Congress, and will be openly available via the AIF website as a legacy resource for any multi-venue festival to access.

Festivals wishing to find out more information should email [email protected]

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The number of UK festivals to have announced a postponement, cancellation or complete closure in 2024 has reached 60.

Basingstoke’s Cosmic Roots Festival and Gloucester’s Witcombe Festival have become the latest casualties, while Cambridgeshire’s Secret Garden Party recently announced this year’s edition was its last “in its current form” – burning its main stage at the end of its July weekend as a symbol of the challenges facing independent festivals.

Organisers of Cosmic Roots, which was scheduled for 5-8 September, put the decision to cancel down to “unpredictable ticket sales and a rise in production costs”.

“The pressure on our independently funded festival is simply too great,” says a statement. “2024 has been a tough year for the festival industry, with challenges that none of us saw coming. The shifting landscape has been incredibly difficult to navigate, and despite our best efforts, it’s left us unable to move forward with the festival this year… The reality of the situation made it impossible to continue as planned.”

Elsewhere, Witcombe Festival, which was due to run over the August Bank Holiday weekend, blamed the cost of living crisis for “significantly” impacting ticket sales and planning.

“Despite our best efforts and creativity, including plans to reduce capacity and the size of the festival site, these have not been possible due to strict licensing conditions,” says a statement. “We have always prided ourselves on delivering an unforgettable experience for our festivalgoers, and we believe that cancelling the event is the most responsible course of action to ensure we can return stronger in the future.

“We hope that the new Labour government will take swift action to save many successful festival businesses that are facing this existential threat”

“We are committed to returning with an even more spectacular event, and we look forward to celebrating with you all once the situation stabilises.”

The festivals join dozens of losses from this year’s calendar including NASS Festival, Bradford’s Challenge Festival, El Dorado, Pennfest, Connect Music Festival, 110 Above Festival, Leopollooza, Long Division, Bluedot and Barn On The Farm, with the majority of organisers blaming significant increases in operational costs.

According to the Association of Independent Festivals (AIF), it is expected that the UK will see over 100 festivals disappear without intervention. In February, AIF launched a campaign asking for a temporary VAT reduction from 20% to 5% on festival tickets that it says would save many event promoters from closure.

The trade body is now resuming its push following the election of the new government.

“The number of festivals forced to cancel, postpone or shut down entirely in 2024, largely because of unpredictable costs and a credit crunch within the sector, shows no signs of slowing,” says AIF CEO John Rostron. “The urgent need for government intervention through a temporary reduction in VAT on ticket sales to 5% remains.

“We hope that the new Labour government will take swift action to save many successful festival businesses that are facing this existential threat.”

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The number of UK festivals to have announced a postponement, cancellation or complete closure in 2024 has now reached 50.

Northwich’s Geronimo children’s festival, scheduled for 23-26 August at Arley Hall, Cheshire, has become the latest casualty over the past few days, as the crisis affecting the sector deepens.

“The great British weather is not always kind and with a huge percentage of festival-goers holding off booking until the last week, the event has become an unsustainable financial risk,” say organisers.

Other fresh cancellations include Chelmsford’s ZENfest and Hertfordshire’s Starry Village, while Wrexham’s Another World Music Festival and South Yorkshire’s Askern Music Festival have been postponed to 2025 due to licensing issues. London’s 51st festival has also called off its 2024 gathering, citing “the cost of living crisis, a significant increase in operational costs and operational issues”.

In addition, Oxfordshire’s family-oriented Beacon Festival held its final event from 21-22 June and Underneath the Stars’ 10-year celebration in Barnsley between 2-4 August will be its last edition “for now”.

“This is the most challenging time for independent festivals who desperately need an intervention from the incoming government”

“This is a regrettable landmark for the UK’s festival sector,” says Association of Independent Festivals (AIF) CEO John Rostron. “This is the most challenging time for independent festivals who desperately need an intervention from the incoming government before more events inevitably fall.”

Without intervention, AIF predicts the UK will see over 100 festivals disappear in 2024 due to the pressures of unpredictable and rising costs.

Earlier this year, the trade association launched the Five Percent For Festivals campaign to encourage festivalgoers to contact their MPs to lobby for a VAT reduction on tickets. AIF states that a reduced VAT from 20% to 5% on ticket sales for the next three years will give festival promoters the space they need to rebuild.

“Our research suggests around 100 festivals will throw in the towel before the year is out, and more will go into 2025 at risk if there is not the temporary fiscal support they need,” adds Rostron.

The full list of 50 festivals also comprises:

• Towersey Festival
• Twisted Festival
• Bingley Challenge Festival
• El Dorado
• Welliestock
• Visions Festival
• Riverside Festival
• We Are Fstvl
• Heartwood Festival
• ND Festival
• Meadowfest
• Penn Fest
• Illusive Festival
• Clun Green Man
• Askambury Festival
• Shindig
• Tunes On The Bay Festival
• Lowedefest
• Neighbourhood Weekender
• Camp Quirky
• Doonhame
• Splendour
• Love Fit
• Hayloft Live
• Ampthill
• Connect
• 110 Above
• Standon Calling
• Spring Classic
• Smoked and Uncut
• Takedown Festival
• Detonate Festival
• Togfest
• Nibley
• Bingley Festival
• Escape Into The Park
• NASS Festival
• Field Maneuvers
• Nozstock: The Hidden Valley
• Bluedot Festival
• Leopallooza
• Barn On The Farm

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Association of Independent Festivals (AIF) CEO John Rostron has unpicked the key issues facing the beleaguered UK sector this summer, with more than 40 festivals already postponed, cancelled or shut down in 2024.

The family-run Towersey Festival – the UK’s longest-running independent, having launched in 1965 – became the latest casualty earlier this month, announcing that its upcoming August edition would be its last, citing “increasing financial and economic challenges since the pandemic”.

It joined a list of losses from this year’s calendar that already includes NASS Festival, Bradford’s Challenge Festival, El Dorado, Pennfest, Connect Music Festival, 110 Above Festival, Leopollooza, Long Division, Bluedot and Barn On The Farm, with the majority of organisers blaming significant increases in operational costs.

Rostron tells IQ that promoters have described the current climate as “the most challenging time it’s ever been”.

“It’s an incredibly challenging environment, because they’ve got multiple things that have all come together at the same time – some of which is long wind from Covid and Brexit impacting,” he explains. “There are a couple of wise people who saw this coming out of the pandemic, but obviously it is very different seeing it to now feeling it.”

While the supporting data is limited up to this point, Rostron says the indications are that the cost of living crisis “has definitely come to bear” ahead of this summer’s season.

“What we feared would happen, is happening – and it will get worse before it gets better”

“One thing we have picked up on is that the overall sales pattern is changing,” he points out. “A lot of people might want, or intend, to go to a festival, but cost of living means they won’t buy their tickets as early as they used to. They’re waiting a lot later – and that ‘later’ adds to the problem.

“Somebody saying, ‘I’m going to go, but I haven’t bought a ticket yet’ is no good to a festival organiser who’s got to pay a bill for a stage upfront. But it’s understandable, because we know what cost of living feels like. We’re all in it, so we’re probably all making similar kinds of decisions.”

Former Welsh Music Foundation chief Rostron, who co-founded Cardiff’s Sŵn Festival, says he was first alerted to the unfolding situation within a month of taking the AIF helm in November 2022.

“I had an individual say to me, ‘There is a cultural crisis coming; I can see a real problem coming down the tracks,'” recalls Rostron. “At the time, it was the only voice saying that, because a lot of the festivals were feeling incredibly energised because they’d finally put Covid to bed. But what I hadn’t realised is how many of them had made a loss on the events they’d delivered in 2022. They’d sold out, but they’d still made a loss.

“This one voice said, ‘I think there’s a cultural crisis’ and then as some festivals began to fall in the spring of 2023, that voice became loud in my head. What we feared would happen, is happening – and it will get worse before it gets better.”

Rostron suggests that headlines about record-setting A-list global tours and more than one million people attending live music events in London in a single week had distracted from the growing concerns lower down the food chain. But there has since been a reality check.

“We talk to the supply chain a lot, and they need two or three years of relative calm in order to be able to build back and relax their terms”

“There were a lot of people in the ecosystem doing well and feeling very optimistic, so the voices of errors and problems felt like they were on the fringes,” he says. “But that is coming home and you can see it in two big areas: grassroots music venues and festivals. And it’s not just our voices anymore – you hear it from other people in the talent development pipeline: artists, managers and agents, because they’re not getting as many bookings this year.

“The number of stages and events has gone down and they’re like, ‘Oh, this is a problem, because we’re not getting the opportunities we used to get; what does that mean for the future?’ Those voices are beginning to join with us now.”

Regarding escalating supply chain costs, from fencing to toilets, Rostron says there is no simple solution for either side.

“Within their world, there’s been a lot of upheaval,” he says. “A lot of it is Brexit and the pandemic, but they have other issues – their ability to buy new gear is challenging when there’s high interest rates, and it’s challenging to store them. Those things add pressure to their ability to settle prices, alongside that foundation of Brexit, which has caused huge problems for the supply chain in terms of locations and costs.

“We talk to the supply chain a lot, and they need two or three years of relative calm in order to be able to build back and relax their terms. Everybody’s under pressure, so the prices have not just gone up, but they want their money upfront and that is incredibly difficult. That’s not the environment that existed in 2019 where if you had a loss one year, you could cover it the next year. That’s all gone.

“There are lots of great people in the sector working very hard to try and come to deals and help people through – from generator and audio companies to agents and artists – but they can’t always make it, and that’s why you’re seeing so many fall.”

“It’s clearly already too late for 43 festivals, and it’s going to be too late for four more that I know are going to go”

In response to the developing crisis, the trade association has launched a campaign called Five Percent For Festivals to encourage festivalgoers to contact their MPs to lobby for a VAT reduction on tickets. AIF states that a reduced VAT from 20% to 5% on ticket sales for the next three years will give festival promoters the space they need to rebuild, and will resume its campaigning in the wake of next month’s UK general election.

“I’m very optimistic that we will get something,” says Rostron. “I’m very confident. Naively confident? I don’t know. We’ve had regular conversations and we haven’t had a ‘No’. The sad bit is, the more festivals cancel – and what we said might happen begins to happen – the stronger those conversations are.

“The CMS inquiry into grassroots music venues made a recommendation to look at modelling of VAT in the grassroots, and the conversation has widened to say that should include festivals. All of that will take time. It takes time to model, it takes time to implement, and there’s still obviously a chance that it won’t happen – they can make the recommendation and then say, ‘No’.

“I think there will be intervention. My concern is that by the time something does happen, how many [festivals] will have gone? We’re going to see more independent festivals go because they’re not going to be able to make it to that point of intervention, whatever that intervention looks like. It’s clearly already too late for 43 festivals, and it’s going to be too late for four more that I know are going to go.”

He continues: “What’s good for us is there is an election about to happen, so we’ll have a new group of politicians with a five-year mandate, and that is stronger to work with than where we were, which was with a group of MPs that didn’t know how long their futures would be.”

“We’ve had a lack of new energy and blood and ideas because of Covid, and we’ll begin to see that trickle back”

Indeed, sounding an optimistic note, Rostron can already picture a brighter tomorrow for the industry – with Generation Z leading the charge.

“What will the festival sector do creatively? Well, they’re already planning it,” he observes. “You’ve got people going, ‘There’s a headliner issue? We’re going to change the way that we book.’ A lot of festivals sell the majority of their tickets without announcing any artists – people go because they love Shambala, or Mighty Hoopla, or Green Man, or End Of The Road. And as long as those artists are of good quality and fit with the audience’s expectations, they’re not really looking at who’s playing, so I think festivals will double down on that.

“For some of them, you’re going to see degrowth. You’re going to say, ‘As we expanded, we got to the point where we needed those [big] headliners. If we shrink down a bit, we don’t need that anymore.'”

He concludes: “You had this big gap with young people that couldn’t go to festivals because of Covid, and that’s impacted us in ways that we can’t understand. But some of them went to festivals in 2022 and 2023, and they’ll go again this year. And guess what? They’ll now start to leave their footprint creatively in the festival sector.

“You will see some of those individuals be inspired to create their own events, or pockets within existing events. You’ll see that magic start to sprout up because that’s where innovation always comes from. We’ve had a lack of new energy and blood and ideas because of Covid, and we’ll begin to see that trickle back.

“Next year, I think you’ll see the seeds of some future great festivals and some others change quite dramatically. That will be quite Gen Z-driven, and I’m really excited to see what they do.”

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Switzerland’s Paléo and Lollapalooza Berlin in Germany head the latest festival lineup announcements for 2024, while Belgium’s Pukkelpop is celebrating a speedy sellout.

Paléo Festival Nyon returns from 23-28 July with a bill headed by Sam Smith, Burna Boy, Booba, Mika, Sean Paul, Major Lazer Soundsystem, Gazo & Tiakola, PLK, Nile Rodgers & Chic, Patti Smith, The Blaze, Paul Kalkbrenner, Aurora and Royal Blood.

Expanding its musical horizons with a mix of pop, rock, rap, dancehall, Afrobeats, reggae, electro, opera and funk, the event will welcome 130 artists in all. Its Village du Monde (Village of the World) will focus on the Balkans, featuring around 20 acts.

Set for 7-8 September at the German capital’s Olympic Stadium and Olympic Park, Lollapalooza Berlin will be headlined by Sam Smith, Martin Garrix, Burna Boy, Seventeen, The Chainsmokers, Niall Horan, Louis Tomlinson, Shirin David and CRO.

Other acts will include Loyle Carner, Nothing But Thieves, Meduza, Tom Grennan, Kenya Grace, Elderbrook, Joel Corry and Alok.

That same weekend will also see Goodlive’s Superbloom take place at the Olympic Park in Munich, which has unveiled its expanded lineup. Joining Calvin Harris on the bill are Burna Boy, Shirin David, Jorja Smith, Milky Chance, Loyle Carner, Loreen and Chappell Roan.

Previously confirmed acts included Sam Smith, The Chainsmokers, CRO, Louis Tomlinson, RIN, Provinz, Tokio Hotel, Nothing But Thieves, Kenya Grace and David Puentez. For the first time, there will also be readings by renowned authors, including Ilona Hartmann and Phia Quantius, with two crime podcasts also represented.

“Ticket sales are going well: we are certainly further ahead than this time last year”

Meanwhile, Pukkelpop, which will be held in Hasselt between 15-18 August, sold out all combination tickets in less than 48 hours, according to organisers.

The event will star the likes of Fred Again.., Stormzy, Sam Smith, Queens of the Stone Age, The Offspring, Charlotte de Witte, Goldband, Raye, Inhaler, Sugababes, The Vaccines, Skrillex, Jorja Smith, The Smile and Denzel Curry.

Also in Belgium, the resurgent Gent Jazz Festival is expanding from ten to 13 days and has confirmed André 3000 among this year’s performers. The 5,500-cap series runs from 5-20 July and will also feature names such as Diana Krall, Laufey, Jamie Cullum, Air, Alexis Ffrench, DJ Shadow, Nile Rodgers & Chic and Rodrigo y Gabriela.

Ghent-based promoter and booking agency Greenhouse Talent took over the international jazz festival last year after previous organiser – the non-profit Jazz en Muziek – went backrupt at the end of 2022.

“For us, the expansion is an essential intervention to guarantee our survival,” organiser Pascal Van De Velde tells De Standaard. “It is difficult for a festival in our niche and with our capacity to break even, and we did not want to save on costs. So we found the solution in extra days: this allows us to spread the basic costs of the festival.

“Ticket sales are going well: we are certainly further ahead than this time last year.”

AIF reports that 21 UK festivals have now announced a postponement, cancellation or complete closure in 2024

Elsewhere, Smash’s Fuji Rock, which will grace Japan’s Naeba Ski Resort in Tokyo from 26-28 July, has added Peggy Gou and Noel Gallagher’s High Flying Birds as headliners alongside Kraftwerk. Other new additions include Remi Wolf, Hiromi’s Sonic Wonder, Denki Groove, Kid Fresno, Man With a Mission, Sampha, Teddy Swims, Macaroni Empitsu, The Spellbound and Kim Gordon.

And AEG’s BST Hyde Park in London has revealed Morgan Wallen as its final 2024 headliner. The country music superstar will perform on 4 July, completing a lineup which also includes SZA (29 June), Kings of Leon (30 June), Andrea Bocelli (5 July), Robbie Williams (6 July), Shania Twain (7 July), Stevie Nicks (12 July), Kylie Minogue (13 July) and Stray Kids (14 July).

However, trade body the Association of Independent Festivals (AIF) reports that 21 UK festivals have now announced a postponement, cancellation or complete closure in 2024.

Cotswolds-based Nibley Festival has announced that this year’s event will be its last, shortly after Bradford’s Bingley Festival announced that its 2024 edition will not go ahead.

Promoters of both festivals have cited rapidly rising production costs as the reason why running their event is no longer viable. Portsmouth rock and metal festival Takedown also recently postponed to 2025, citing “challenging trading conditions” among other factors.

AIF warns that, without intervention, the UK could see over 100 festivals disappear in 2024 due to rising costs and has reiterated the need for temporary support from the UK government to lower VAT from 20% to 5% on ticket sales for the next three years.

“It’s with grave concern that we again sound the alarm to government upon passing this critical milestone,” says AIF CEO John Rostron. “UK festivals are disappearing at a worrying rate, and we as a nation are witnessing the erosion of one of our most successful and unique cultural industry sectors.

“We have done the research: a reduction of VAT to 5% on festival tickets over the next three years is a conservative, targeted and temporary measure that would save almost all of the festival businesses that are likely to fall by the wayside this year and many more over the years to come. We need this intervention now.”

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UK live music trade body LIVE has described Chancellor Jeremy Hunt’s latest budget as “another missed opportunity” after calls for a reduced VAT rate on ticket sales went unheeded once again.

Hunt did announce, however, that orchestra tax relief (OTR) would become permanent at a rate of 45%.

The current temporary 50% rate of OTR was due to taper down from April 2025 and drop eventually to its original rate of 25%. A theatre tax relief rate of 40% (and 45% for touring productions) will also remain.

“LIVE welcomes the Chancellor’s announcement that the tax reliefs for orchestras and theatres will be made permanent,” says LIVE CEO Jon Collins. “However, today’s Budget represents yet another missed opportunity to accelerate the growth of the live music sector and the wider economy while also providing urgently needed support for grassroots music through the reintroduction of a lower VAT rate.

“20% VAT on tickets in the UK is vastly out of step with our competitors in Europe and North America and has become a material factor limiting the number of gigs, tours and festivals our world class industry can put on.

“Fewer shows mean reduced economic activity in towns and cities across the country – an estimated £1m is spent in local businesses for every 10,000 people who attend a gig – and heaps further pressure onto grassroots music venues that are closing down at an alarming rate. We need urgent action to ensure the whole sector can prosper in the long term.”

Association of Independent Festivals (AIF) chief John Rostron also laments a lack of support for the sector, despite a spate of recent cancellations.

“We’re disappointed that our calls for support for the UK music festival sector have not been met”

“We’re disappointed that our calls for support for the UK music festival sector have not been met,” says Rostron. “Festivals need a temporary reduction in VAT on ticket sales from 20% to 5% in order to recover from the impact of Covid and Brexit, which has created a credit crunch that is seeing successful festivals having to postpone or cancel this year months before their events are due to take place.

“Yet another festival fell yesterday – the 15th event to fall already in 2024. Theatre has made the case for tax relief, which is being extended indefinitely. We urge the Chancellor and the Treasury to now turn to festivals and offer a fraction of that support to ensure more events do not make 2024 their last.”

UK Music interim CEO Tom Kiehl also welcomes the move to make OTR permanent.

“I welcome that the Chancellor has listened to industry calls to put in place extensions to the orchestras tax relief on a permanent basis,” he says.

“The government should use this opportunity to clarify our further calls as to whether touring choirs and other singing groups are also eligible for this important relief.

“We welcome the indirect benefit to music of the introduction other creative sector tax reliefs and seek further government consideration for the introduction of a tax credit to encourage new UK music production.”

Introduced in 2016, OTR is aimed at supporting live orchestral performances. The headline rate was rate uplifted to 50% in 2021 in the wake of Covid and was extended in 2023 for a further two years until April 2025.

The Musicians’ Union and the Association of British Orchestras were among the groups that had called to make the relief permanent.

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The UK’s Association of Festival Organisers (AFO) will hand over operation to the Association of Independent Festivals (AIF) following the retirement of general secretary Steve Heap.

Heap, who will step down at the beginning of April, has been AFO’s general secretary since its formation in 1987. The organisation currently represents 102 festival and event organisers, with events ranging from 500 to 25,000-plus capacity, while AIF represents 101 UK music festivals, ranging from 500 to 80,000-cap.

Together, the trade bodies will have a collective voice representing 202 festival promoters and events organisers across the UK.

“Since founding AFO in 1987, I have devoted a considerable amount of time, effort and love to the grassroots festival industry,” says Heap. “Members and I have worked together to build a stronger, well-recognised and sustainable future. Retiring from this desk now, after 38 years, is a big tug and I will leave all the ‘thank yous’ to my personal letters later.

“For now and the future, I am delighted to be giving the reins to John Rostron and the team at AIF, where I know AFO members will find support, knowledge, campaigning and unity in this world of festivals. AFO members are creative, conscientious, and resilient, and I believe will embrace this change of management with enthusiasm, leading on to a real recovery and strong, successful season in 2024.”

The AFO and AIF have come together many times in the past to fight for the combined interests of their members, with achievements including negotiating a new reduced festival tariff with PRS for Music; negotiating a reduction on VAT for tickets sales to 5% during Covid; lobbying government for financial support, and leading to the contribution of over a billion pounds from the Cultural Recovery Fund to a variety of arts organisations.

“The UK’s festival sector is depleting at a staggering rate in 2024 and, without government intervention, there is no guarantee that pressures will ease”

“Steve is a legend in the festival world and he’ll be greatly missed as he begins his retirement from AFO,” adds AIF CEO John Rostron. “I’m enormously pleased that his departing gesture is to entrust AFO to myself and the team at AIF. We’ll continue to support AFO members in the way they’ve become accustomed but also bring new opportunities and strength by having so many independent festivals together in one place.

“I’m pleased that I’ll still get time with Steve as he offers his wisdom and support to me and the members as he steps back to enjoy more time in the fields, and less time at a desk.”

Meanwhile, Devon’s Spring Classic festival has become the latest UK festival to cancel this year, with organisers citing spiralling costs.

“Spring Classic festival is the 14th UK festival to cancel, postpone or announce their closure entirely in 2024,” notes Rostron. “Again, reasons of soaring costs for a third consecutive year since the pandemic have meant this popular, well run event can no longer go ahead, despite plenty of personal investment from its organisers.

“The UK’s festival sector is depleting at a staggering rate in 2024 and, without government intervention, there is no guarantee that pressures will ease for promoters in years to come. We again urge people to visit fivepercentforfestivals.com, contact their MP and call for a three year VAT reduction on festival tickets to 5% in order to give festivals the economic respite they need to recover.”

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Two more UK festivals have announced they will no longer take place in 2024.

Connect Music Festival and 110 Above Festival join a growing list of UK festivals to have announced some form of cancellation already this year, including NASS Festival, Leopollooza, Long Division, Bluedot, Barn On The Farm and Splendour, as well as Nozstock The Hidden Valley, which says its 2024 edition will be its last.

Meanwhile, organisers of a third event – Norfolk’s Wild Fields – are battling to reconfigure the planned three-day camping event into a two-day city-based gathering. A collaboration between ATC Group and the team behind Norwich-based multi-venue festival Wild Paths, the 10,000-cap Wild Fields was set for Raynham Estate in North Norfolk from 15-18 August.

The festival was aiming to offer “a truly diverse range of festival performers,” having signed up to Keychange’s 50/50 pledge. Artists booked included Ezra Collective, SBTRKT, Los Bitchos and Nightmares on Wax.

However, festival director Ben Street tells IQ that the team are trying to salvage the festival and are awaiting licensing approval to move to a city park. A statement from Wild Fields reads, “As a team we’ve platformed some of the most exciting, progressive line-ups and sought to challenge convention, outdated attitudes and trends in the industry. Making these choices has never been easy but we’ve been tenacious and stuck to our values.”

DF Concerts says its Connect Music Festival, held at Edinburgh’s Royal Highland Showgrounds, will “take a break” in 2024.

“We’ve decided to take a break with Connect Music Festival in 2024 to take the time to build the next edition of the festival, to make sure it flourishes, evolves, and continues to offer wonderful experiences for all the fans,” says a statement shared on social media.

“Week by week, day by day, one by one these brilliant, vital independent music festivals are disappearing”

The 110 Above Festival, meanwhile, was scheduled for Gopsall Hall Farm, Leicestershire from 10-13 August, with acts such as Circa Waves, The Mysterines, Jack Garratt and Twin Atlantic.

“Having considered carefully and explored various options we have taken the tough decision to give 2024 a miss,” explain organisers. “The current economic climate means it would be reckless to plough on with such uncertainty and volatile costs – particularly for a fully independent festival like ours.

“We already had a feel for this in 2023 where conditions were challenging and the festival made a sizeable loss. This could have been much worse if it wasn’t for the amazing support from team members, contractors and supporters. What’s next? The break will give us a chance to re-group, and re-energise. We really want to keep 110 alive as it’s a passion that we see bring joy to so many.”

In response, UK trade body the Association of Independent Festivals (AIF) is repeating calls for a three-year reduction in VAT on festival tickets from 20% to 5%.

“Week by week, day by day, one by one these brilliant, vital independent music festivals are disappearing,” says AIF CEO John Rostron. “With it, we lose the pipeline of talent development for artists and a space for audiences to find new music across the UK. Future headliners were made here.

“The costs of putting on these festivals has risen so much, way beyond the price of the ticket, and so independent festival promoters – already losing money – are having to call time.

“This is a long tail impact of Covid and of Brexit. If the UK wants to be a world leader in music, then the UK government needs to do as other countries across the world have done, and support the festival sector for a few years to make its recovery. Lower VAT on tickets to 5% for three years, and we’ll prevent more festivals having to say enough is enough and goodbye.”

A similar situation is unfolding in Australia, where at least six festivals have been called off since the beginning of this year, in what some executives are calling a crisis.

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