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Ticket price increases for European festivals are cooling off ahead of next summer, according to analysis by IQ.
Prices for full festival tickets increased by an average of 5% between 2024 and 2025, compared to almost 7% from 2023 to 2024, according to analysis of a cross-section of 20 European festivals.
The increase in festival ticket prices between 2023 and 2024 is perhaps best explained by the ballooning rise in costs caused by issues including post-Covid inflation and the Russian invasion of Ukraine.
“The cost of infrastructure has increased so much with the combination of Covid and the cost of Brexit”
German promoter DreamHaus (Rock am Ring/Rock im Park) said production costs increased in the region of 25-30% for the 2023 festival season.
On top of this, organisers had to make up the shortfall from a 2022 edition priced in 2019, as well as two cancelled editions due to the pandemic.
“The fact that we didn’t make any money with a sold-out Hurricane in 2022, but actually lost it, was also due to the fact that we had basically sold the tickets three years earlier,” FKP Scorpio CEO Stephan Thanscheidt said at the time.
“Keeping ticket prices under control while maintaining profit margins at the same time is proving extremely difficult right now,” he added.
But costs are still an ongoing concern for the sector in 2024 – as evidenced by the slate of festival cancellations referencing “financial challenges” and steadily increasing ticket prices.
“I still think festivals are incredible value for money when you compare them to other forms of entertainment”
“The cost of infrastructure has increased so much with the combination of Covid and the cost of Brexit,” John Giddings, Isle of Wight boss, tells IQ. “Plus the cost of artists is more because their productions are bigger.”
Tamás Kádár, CEO of Sziget, adds: “It is indeed a general trend that ticket prices for European festivals are rising to some extent. Unfortunately, we see rising supplier costs and the effects of global (and especially local) inflation. It is something we have to deal with when calculating ticket prices.”
However, raising the ticket price is no small decision for organisers, who are concerned about pricing out swathes of their audiences.
Primavera Sound’s Marta Pallarès recently told IFF delegates: “Thirty percent of our crowd is from Spain. If we [significantly increase our ticket price] we will lose that national crowd, which is important to our identity as a festival.
“Plus, after 24 years, our crowd is younger and they can’t afford a ticket that’s more than €250 so we are keeping the prices for them, to be honest.”
“It’s a constant struggle to keep tickets affordable”
Though organisers are wary of reaching a “red line” with ticket prices, many are keen to point out that festivals are generally good value for money.
“As far as I can see, at a West End theatre the average ticket price is £75-80 for a two-hour show and we’re £300 for a four-day show,” says Giddings. “Or you go to a Formula 1 race and the price is phenomenal. I still think festivals are incredible value for money when you compare them to other forms of entertainment.”
Lowlands director Eric van Eerdenburg testifies: “I think we have one of the highest ticket prices in Holland but if you compare it to a weekend in London, Paris or Berlin, it’s cheap.”
The Dutch festival raised its ticket price to €325 for 2024, up from €300 in 2023 and €255 in 2022.
“It’s a constant struggle to keep tickets affordable,” he says. “But attendees are offered so much entertainment for just €115 per day. People tell me every year that they’ve had the best weekend of their lives.”
With the price of energy, production and acts rapidly increasing, a hike in the ticket price was necessary to “make a reasonable margin” adds Eerdenburg.
“I think the [cooling off] on ticket price increases means that [the sector] is trying to provide value for money”
Sziget’s Kádár echoes these thoughts, adding that the Hungarian festival “is one of the best value-for-money festivals in Europe”. “We have structured the price of our six-day pass so that when divided by day, it becomes even more attractive,” he continues. Elsewhere, Primavera Sound’s €250 ticket price boils down to just €1 per band, according to Pallares.
Giddings adds: “I think the [cooling off] on ticket price increases means that [the sector] is trying to provide value for money.”
At the same time, festivals are doing what they can to keep festival prices down and ensure that events remain accessible to people from all walks of life.
“We offer tiered pricing throughout the year, rewarding our most loyal fans with (Super) Early Bird tickets at nearly last year’s prices,” says Kádár. “We also offer various products, as well as travel and accommodation packages to provide favourable deals for visitors. Additionally, we provide special Under 21 ticket pricing to ensure the festival remains accessible for younger attendees.
“In terms of catering, we have also introduced “budget-friendly” food options for the second consecutive year. Overall, while the economic impacts on festivals are not favourable, we believe that Sziget still can be a festival for everyone.”
Giddings concludes: “It’s not a cheap hobby to put on a festival – it’s a huge financial gamble – but we want to keep it within the realms of possibility for people to afford a four-day camping event.”
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IQ has spoken to Caroline Giddings, Isle of Wight Festival director, to get her take on 2024 and the state of the sector.
The UK festival is one of the most iconic names in music history. Resurrected in 2002, it has gone from strength to strength, and in 2024, almost 60,000 fans made the ferry journey to see headliners Green Day, Pet Shop Boys, and The Prodigy alongside a host of top rock and pop artists.
As the festival celebrates its history with a dedicated exhibition, Giddings recapped this year’s event for the September edition of IQ…
IQ: How would you summarise this year’s Isle of Wight festival?
CG: It was another fantastic year for us, thanks to the hard work of the entire team behind the scenes. This year was a particularly proud one as we’ve been working to get Green Day to perform for years, and the excitement on site during Sunday was palpable. From when we open the gates on Thursday until the last camper leaves the site on Monday, our team are working day and night to make sure things run as smoothly and safely as possible.
Taking place on a relatively small island of just over 100,000 residents, we are always aware of the important position that the festival holds for many of those islanders and are thrilled that many thousands of them, of all generations, join us each year. We had an incredibly successful on-sale for our 2025 early-bird tickets the week after the festival, which I always take as a hugely positive sign.
It’s very important to us that people want to come to the Isle of Wight Festival because they trust us to put on an amazing show, long before they know what the lineup is going to be. We work hard to make sure that the intangible ‘Isle of Wight feel’ is at the heart of what we do to build that ongoing loyalty from our customers.
“We were pleased to work with GeoPura to integrate their hydrogen-powered generators into our backstage area”
Were there any new ideas or initiatives that you launched this year?
Like most forward-thinking festivals, we’re always trying to look for new and innovative ways to improve the sustainability of our show. The key challenge for us, and all festivals of any size, is to turn focus onto the core emissions-generating activities that are inherent to what we do. As part of that, this year, we were pleased to work with GeoPura to integrate their hydrogen-powered generators into our backstage area.
Those generators provided power to crew catering and the artist village, through zero-emission electricity thereby removing the need for diesel generators in these areas. We are always striving to improve the customer experience and, this year, we introduced a new area, Steeler’s Wheel, which showcased local DJs and proved to be one of the most popular areas on-site across the weekend.
What were the biggest challenges you and your team had to deal with this year?
Like other events, we come up against escalating costs and a difficult economic background. It’s a delicate balancing act to manage those whilst not skimping on customer delivery. Our goal is always to offer an excellent value ticket, give people a great experience on-site, and deliver a world-class event each year.
“The UK has a fantastic festival circuit – there is something for every musical taste right across the country”
You’ve been involved in launching an Isle of of Wight Festival exhibition, what’s the plan there?
We are grateful to be continuing the legacy of one of the most iconic festivals in rock music history and, while we innovate each year and aim to deliver a cutting-edge experience for fans, our look and feel still echo those landmark 1960s shows. Experience 25 is an exhibition dedicated to the festival’s unique history, and we’re pleased to say it’s open from 19 September until 13 November at the O2’s Innovation Centre in London.
There is a lot of fascinating archive material from the original festivals in 1968, 1969, and 1970, alongside information on how the festival was revived in 2002 by John [Giddings] and how it’s grown into the landmark event it is today.
Much has been said this year about a number of UK festivals closing down, what’s your view of the broader UK festival scene right now?
We’re grateful that, in the current economic climate, we have a loyal fanbase who return to the festival each year. The UK has a fantastic festival circuit – there is something for every musical taste right across the country. The growth has been remarkable over the last few decades, but there’s never a guarantee that growth can be maintained as tastes and fan behaviour change. The best festival teams are well aware of that and spend each year working to ensure that they change and improve to continue appealing to their audience.
Given the huge choice available to fans every weekend of the summer, the most successful festivals need a clear understanding of their identity and an unremitting focus on quality and delivery. As the industry has professionalised, the expectations of our customers have grown year on year, and the challenge for us is to meet and exceed those for each edition.
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IQ 130, the latest issue of the international live music industry’s favourite magazine, is available to read online now.
In our bumper September edition, Adam Woods goes behind the scenes of Adele’s historic Munich residency while Gordon Masson talks to the team behind Rock in Rio as the iconic event turns 40.
Elsewhere, ROSTR and IQ analyse the lineups and bookings of 50 top European festivals and the Green Guardians 2024 list is revealed.
This issue also delves into the live music markets in Ireland and Singapore and notes some of the best innovations that debuted during the festival season.
To wrap up the season, Roskilde’s Signe Lopdrup and Isle of Wight’s Caroline Giddings discuss the triumphs and tribulations of their 2024 events.
For this edition’s columns, Pax Nindi champions change in festival production and Pascal Van De Velde outlines Gent Jazz Festival’s transformation.
A selection of magazine content will appear online in the next four weeks but to ensure your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ – or check out what you’re missing out on with the limited preview below:
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Barclays has suspended its sponsorship of Live Nation UK’s remaining 2024 festivals following a raft of artist withdrawals over the bank’s ties to Israel.
Pest Control, Scowl, Speed and Zulu pulled out of this weekend’s Download Festival, with Pillow Queens, CMAT, Mui Zyu and Georgia Ruth dropping out of July’s Latitude 2024 earlier this month and The Waeve cancelling their slot at Isle of Wight Festival.
Barclaycard became headline partner of Isle of Wight and Latitude in 2023 as part of its partnership renewal with Live Nation UK. The five-year extension also included collaborations with events including TGE, Download, Lytham Festival, Camp Bestival and Reading & Leeds.
“Following discussion with artists, we have agreed with Barclays that they will step back from sponsorship of our festivals,” says a Live Nation spokesperson.
Previously, more than 100 speakers and acts pulled out of March’s SXSW, held in Austin, Texas, in protest at the event’s sponsorship by the US Army and its support for Israel during the Gaza war, while a similar number of acts withdrew from the UK’s The Great Escape (TGE) due to the Brighton event’s Barclays sponsorship. Massive Attack, Idles and Brian Eno were among dozens of acts who were not booked to play at TGE but signed an open letter launched in April calling for it to drop Barclays as a partner.
A spokesperson for Barclays tells the Guardian: “Barclays was asked and has agreed to suspend participation in the remaining Live Nation festivals in 2024. Barclays customers who hold tickets to these festivals are not affected and their tickets remain valid. The protesters’ agenda is to have Barclays debank defence companies which is a sector we remain committed to as an essential part of keeping this country and our allies safe.
“The only thing that this small group of activists will achieve is to weaken essential support for cultural events enjoyed by millions”
“They have resorted to intimidating our staff, repeated vandalism of our branches and online harassment. The only thing that this small group of activists will achieve is to weaken essential support for cultural events enjoyed by millions. It is time that leaders across politics, business, academia and the arts stand united against this.”
The publication notes that it understands the suspension does not apply to the entire contract.
Pressure has been directed towards the festivals to cut ties with sponsors linked to Israel, with campaigners and artists pressuring other musicians not to perform at them.
“This is a victory for the Palestinian-led global BDS movement,” says protest group Bands Boycott Barclays following today’s announcement. “As musicians, we were horrified that our music festivals were partnered with Barclays, who are complicit in the genocide in Gaza through investment, loans and underwriting of arms companies supplying the Israeli military. Hundreds of artists have taken action this summer to make it clear that this is morally reprehensible, and we are glad we have been heard.
“Our demand to Barclays is simple: divest from the genocide, or face further boycotts. Boycotting Barclays, also Europe’s primary funder of fossil fuels, is the minimum we can do to call for change.”
“We have been asked why we invest in nine defence companies supplying Israel, but this mistakes what we do”
IQ recently spoke to industry figures to find out how the business is dealing with the issue.
In response to the boycotts, Barclays have repeatedly pointed to their online Q&A which states: “We have been asked why we invest in nine defence companies supplying Israel, but this mistakes what we do. We trade in shares of listed companies in response to client instruction or demand and that may result in us holding shares. We are not making investments for Barclays and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”
The activism has extended beyond live music to become a growing topic of debate in the wider arts world. Speaking on The Rest is Entertainment podcast, presenter Richard Osman said: “There’s an awful lot of pressure on Latitude and artists playing Latitude because of their ties to Barclays… And people I spoke to in the last week, they’re all talking amongst themselves, saying, ‘I don’t really want to boycott in this way. I understand what’s happening, but it feels like this isn’t the best thing to do.'”
The Financial Times reports that Wimbledon is now being targeted over its Barclays sponsorship, while investment management firm Baillie Gifford cancelled its sponsorship deals with literary festivals in the UK last week following protests over its links to Israel and fossil fuel companies.
Nick Thomas, a partner at Baillie Gifford, said: “The assertion that we have significant amounts of money in the Occupied Palestinian Territories is offensively misleading. Baillie Gifford is a large investor in several multinational technology companies, including Amazon, NVIDIA, and Meta.
“Demanding divestment from these global companies, used by millions of people around the world, is unreasonable and serves no purpose. Much as it would be unreasonable to demand authors boycott Instagram or stop selling books on Amazon.
“Nor is Baillie Gifford a significant fossil fuel investor. Only 2% of our clients’ money is invested in companies with some business related to fossil fuels. We invest far more in companies helping drive the transition to clean energy.”
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The last couple of months have seen artist boycotts ripple through the showcase festival season, with hundreds of acts pulling out of SXSW in Austin, and others from new music showcase festival The Great Escape (TGE) due to their sponsors’ ties to Israel.
More than 100 speakers and acts pulled out of March’s SXSW in protest of the Texas event’s sponsorship by the US Army and its support for Israel during the Gaza war. A similar number of acts were reported to have dropped out of the UK’s TGE due to its sponsorship by Barclays and its ties to Israel.
Now, attention is turning to other events, with campaign group Bands Boycott Barclays listing Isle of Wight and Latitude festivals – both of which are presented by Barclaycard – and Download as their “next festival targets”.
Last week, Pillow Queens became the first act to boycott this year’s Latitude. Posting on social media, the Irish rock band said: “As a band, we believe that artistic spaces should be able to exist without being funded by morally corrupt investors.”
A handful of acts that boycotted TGE – Picture Parlour, King Alessi, Nieve Ella, Mui Zyu – are also billed to perform at Latitude Festival. IQ reached out to the acts but none have commented.
“The impacts are going to be different for each and every artist, depending on their circumstances”
Like other acts before them, Pillow Queens referenced a May 2024 report by Palestine Solidarity Campaign (PSC) which details Barclay’s financial ties to companies producing weapons and military technology used in Israel’s attacks on Palestinians.
In response to the boycotts, Barclays have repeatedly pointed to their online Q&A which states: “We have been asked why we invest in nine defence companies supplying Israel, but this mistakes what we do. We trade in shares of listed companies in response to client instruction or demand and that may result in us holding shares. We are not making investments for Barclays and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”
Annabella Coldrick, CEO of Music Managers Forum (MMF) says it is not straightforward for an artist to pull out of a festival. “The impacts are going to be different for each and every artist, depending on their circumstances, she says. “With SXSW, there may have been funding agreements and contractual obligations to consider. There’s also the cost of getting to Austin and visas, which for an upcoming act can be considerable.”
Northern Irish artist Conchúr White, who boycotted SXSW, revealed that he “accepted a significant amount of money from PRS [for Music]” to perform at the festival.
“The financial implications for me, however, pale in comparison to the tragedies occurring in Gaza,” he continued. “I don’t want to align myself with weapon manufacturers.”
White added he will “try to be more mindful moving forward”.
“We would caution against people pressuring and making assumptions about the views of others”
Belfast band Kneecap also canceled their sets at SXSW “in solidarity with the people of Palestine” even though pulling out “would have a significant financial impact on the band”. But they said it wasn’t comparable to the “unimaginable suffering” in Gaza.
While there are a number of possible ramifications for bands boycotting festivals, artists choosing to stay on festival bills are also facing difficulties.
“There’s a lot of pressure coming from social media,” says Coldrick. “Plus you’ve got fans who may have paid to see you. Not every artist is political or feels confident enough or informed enough to express an opinion about what might be a complex global issue. Alternatively, artists may decide to play and use their platform to express their views in other ways.”
David Martin, CEO at Featured Artists Coalition (FAC), seconds that point, adding: “Music is an artistic expression, a vehicle through which to challenge political, social and financial structures. We support each artist’s freedom to take decisions about using their platform. It is up to individual artists to decide how they choose to demonstrate their views. The circumstances of such decisions will vary from artist to artist and show to show, and only those involved will be in a position to judge the best course of action. We would caution against people pressuring and making assumptions about the views of others.”
Pressure has also been directed towards the festivals to cut ties with sponsors linked to Israel. Massive Attack, Idles and Eno were among dozens of artists who were not booked to play at TGE but signed an open letter launched in April calling for it to drop Barclays as a partner.
The letter said the artists were “drawing inspiration” from Artists Against Apartheid. “A Barclays boycott was a key part of ending apartheid in South Africa, after thousands of people closed their accounts with Barclays to pressure them to withdraw investments from South Africa,” it reads.
“We are now looking closely at a festival’s sponsors in advance of confirming any appearance”
It’s yet to be seen how upcoming Barclays-sponsored festivals, which include the UK’s Camp Bestival and Summertime Ball, will respond to – or be impacted by – artists’ political interest in the Gaza-Israel war. Isle of Wight Festival declined to comment for this IQ story and Latitude Festival did not respond.
Denmark’s ENGAGE Festival is a recent example of an event that has dropped its sponsor amid controversy. The Copenhagen festival, organised by the Veterans Foundation, has asked its defence industry partners to withdraw as a sponsor following criticism and confusion from some.
“Some cannot distinguish between Danish veterans and current international conflicts,” a spokesperson for the festival said. “The Veterans Foundation does not support war and will never take a stance on international conflicts that does not align with the Danish government. We do not collaborate with organisations or companies that oppose this.”
Pressure on festivals to remove controversial sponsors is not limited to music; Hay literary festival last week dropped its principal sponsor – investment firm Baillie Gifford – after boycotts from speakers and performers over the firm’s links to Israel and fossil fuel companies.
Whether festivals change tact with sponsorships or not, one agent suggested to IQ that the recent furore may prompt more caution with booking.
“We support our artists in whatever choice they make,” they told IQ. “But we are now looking closely at a festival’s sponsors in advance of confirming any appearance.”
MMF’s Coldrick says such vigilance is business as usual in the record industry: “Clearly, if any artist is passionate about a particular cause or issue and that might have implications on the shows they play, then they need to make this known to their manager and agent. Those kinds of conversations are quite standard when it comes to sync or brand deals. Going forward, maybe they need to be standard in live music too.”
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Solo Music Agency has appointed Jonathan Lomax as managing director to work with owners Caroline and John Giddings across the agency and the Isle of Wight festival, in the UK.
Lomax joins Solo after a 20-year career running communications agencies in London. For two years through the Covid pandemic, Jonathan ran the political lobbying and communications work for the live music industry body LIVE. He led a team working with a wide range of industry leaders to help them navigate the ever-shifting sands of policy during the pandemic, and fought to ensure the financial plight of the industry was on the radar of media and government.
In addition, he has also advised and overseen communications activity for international arena development businesses on their plans for new large-scale venues in the UK.
Lomax says: “It was one of the privileges of my career to support the live music industry during the pandemic, when I met the most interesting and committed people. Despite everyone telling me that I was mad, I was determined to work in the industry permanently and I am thrilled that John and Caroline have taken me into the Solo family.
“I find myself feeling incredibly lucky to be working with such legends of the industry”
“Yet again I find myself feeling incredibly lucky to be working with such legends of the industry as we push forward both the Isle of Wight Festival and Solo. I’m very excited and start the job knowing that, at the very least, there will never be a dull day at work.”
Caroline Giddings adds: “At Solo we’re always looking to bring in new ideas and fresh thinking and we’re excited about someone helping us run the company who has extensive experience in other fields. Like many people in the industry, we got to know Jonathan during the dark days of the pandemic and we’re excited to be working together as a team in happier times as we look to turbocharge both the agency and the Isle of Wight Festival.”
John Giddings comments: “Things never stay the same in this business, you either change or die. I’m really pleased that Jonathan is going to be working with the team on Solo’s next phase and I’m looking forward to many more successful days ahead.”
The lineup for Isle of Wight festival 2023 was recently revealed, with acts including Pulp, George Ezra, Chemical Brothers, Sugarbabes, Sophie Ellis Bextor, Anne-Marie, Gabrielle and Blondie.
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The second IQ Focus festival panel, Festival Forum: The Next Stage, saw festival leaders from around Europe discuss the thorny issues of refunds and insolvency, as well as the outlook for 2021, in what should have been the halfway point of the 2020 season.
Hosted by IQ Magazine editor Gordon Masson, the panel welcomed Mad Cool’s CIndy Castillo, Isle of Wight Festival/Solo Agency’s John Giddings, ARTmania’s Codruta Vulcua and Goodlive’s Stefan Lehmkuhl, two months on from the initial virtual Festival Forum session.
The current situation, said Giddings, has made it “blatantly obvious” that the business has an issue with cash flow and that many promoters don’t have any kind of “war chest to go forwards”.
“I don’t understand how you bankrupt companies by refunding tickets,” he said. “You shouldn’t be spending the ticket money on costs – you need to be in the position to be able to refund all the money. We have a responsibility to the audience.”
Giddings noted that some promoters have got into the habit of “taking money from the future to pay the past”, and it has become clear that this doesn’t work.
“This may teach people a lesson on how to run a business,” he said.
The other panellists agreed to an extent, but noted that a lack of support and clarity from the authorities has complicated matters in a lot of cases.
“This may teach people a lesson on how to run a business”
“Our government hasn’t even declared force majeure yet for live events”, said Castillo, who promotes Madrid’s Mad Cool festival. “This has put us in a very tricky legal situation.”
The Mad Cool team only started its refund period last week, explained Castillo, but is allowing people to make the decision on whether to hold onto tickets for next year or refund them until after the full 2021 line-up is revealed.
In Romania, said Vulcu, an immediate reimbursement “would have bankrupted many organisers”, as the government is implementing new restrictions every two weeks.
“There are companies with shows built up, everything ready and paid for, and then suddenly it had to be cancelled,” she said. A voucher scheme implemented by the government, allowing promoters to offer credit for shows or merchandise in place of cash refunds, has been a lifeline for many.
ARTmania did choose to offer refunds, but only received 43 requests. “Our decision to trust our audience really worked for us,” said Vulcu, adding that this tactic may “work for rock and metal audiences perhaps more than for others.”
Lehmkuhl, who runs German festivals including Melt, Splash, Superbloom and With Full Force, added that a lot depends on how long the shutdown continues for.
“So far, we have been able to spend our own money,” he said,” but the next step would be to touch the ticket money, then to get low-interest credit from the government in case it takes longer.
“What happens if it takes longer than a year?” he asked. “Few companies will be able to survive for longer than a year.”
“Our decision to trust our audience really worked for us”
Mindful of cash flow, Goodlive has asked for deposits back from acts it booked for this year. “There is mutual understanding there,” said Lehmkuhl. “We are trying to rethink our festivals for next year, adjusting dates and concepts. We will start from scratch in some ways next year.”
As the promoter of Isle of Wight Festival, Giddings said he also asked for deposits to be returned. “We are doing contracts going forward for next year and will pay the deposit then.”
In terms of being an agent, Giddings said he is not going to take a fee reduction for artists. “I would rather they didn’t play than take a reduction on my act,” he said.
“As an agent I wouldn’t book an act for festival next year unless they’re going to pay me the same money,” he said, “and we’ve done the same thing as a festival.”
Ticket prices will also have to stay the same, as so many fans are rolling over their tickets to next year. “Anyone raising ticket prices is insane,” said Giddings. “We need to get an audience back first before charging more.”
Vulcu, who said she left the money with the agencies when rescheduling, agreed that she will not be paying artists less money, “but we will definitely not pay more”.
“Romanian audiences will have a lot less money and the priority will not be going to festivals,” she said.
“As an agent I wouldn’t book an act for festival next year unless they’re going to pay me the same money, and we’ve done the same thing as a festival”
Castillo said her experiences have been “positive” with every agent. “We are looking out for each other to prevent the industry collapsing,” she said.
The Mad Cool booker admitted that it will be “really hard” to get the same audiences next year, “so we need help with fees to make things happen”.
“We are running a big risk with the festival next year”.
The recovery of the music business in Spain “hasn’t event started yet”, said Castillo, as “you first have to understand our business model, identify problems and offer solutions – and we haven’t been offered any solutions yet.”
Vulcu added that support packages offered by governments in western European countries such as Germany and the UK may put newer markets at a disadvantage, as they are less likely to receive support.
Giddings replied that, although the recent culture funding package announced by the UK government is sizeable, “we have no idea who it’s going to go to and how it will work”. He added that it was more likely to benefit venues than agents or promoters.
Sponsors are another issue for 2021. “Investing in events is risky now,” said Castillo, “and this is definitely affecting us.”
Vulcu said that, while ARTmania has secured its main sponsor for next year, “it is very difficult to get new sponsors”.
“Investing in events is risky now, and this is definitely affecting us”
Most Isle of Wight Festival sponsors have also “stuck with us” said Giddings, who believes that sponsors will start to come back in once it’s clear the event is going to happen, although they may be “different kinds of sponsors relating to our changing normal”.
Giddings added that he is “praying” for some direction on what will happen next year by Christmas, with clear information needed by March at the latest.
For Lehmkuhl, the key for the “new normal” is a high level of flexibility and an ability to keep running costs very low.
The Goodlive co-founder said that the idea of testing at festivals “is one of the few realistic plans [for getting event up and running] nowadays”, provided that the government is able to provide tests for free.
“It is hard for me to imagine that we will be able to do festivals as normal next year,” he admitted, “but one thing’s for sure, I will not be doing them with social distancing.”
The next IQ Focus session State of Independence: Promoters will take place on Thursday 16 July at 4 p.m. BST/5 p.m. CET. To set a reminder head to the IQ Magazine page on Facebook or YouTube.
Watch yesterday’s session back below, or on YouTube or Facebook now.
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Festival Republic’s Wireless Festival and an open-air the 1975 show are the latest losses to the UK’s 2020 summer calendar, in a week that also saw Oxfordshire’s Cornbury Music Festival and metal event Bloodstock move to 2021.
The UK’s summer festival season is looking increasingly uncertain, as organisers wait for the government to reveal details of its exit plan. The country has been in lockdown since 23 March.
“Wireless Festival will no longer be taking place this year,” reads a statement from organisers. “As you know we’ve been closely monitoring this unprecedented situation, and it’s become clear that cancelling is unavoidable.
“Subject to contract, Wireless Festival will be back next year on 2 to 4 July 2021 and will be worth the wait,” continue organisers, urging fans to “keep your eyes peeled” for news on the virtual edition of the festivals.
The urban music event, which had booked ASAP Rocky, D-Block Europe and Lil Uzi Thug for this year, has encountered licensing restrictions imposed by the local council around its home in Finsbury Park.
The promoter has also announced the cancellation of an eco-friendly show by the 1975 at Finsbury Park, scheduled for 11 July. The show, which was also to feature Charli XCX, Clairo and Pale Waves, was set to be the Manchester band’s biggest show ever.
“We’ve been closely monitoring this unprecedented situation, and it’s become clear that cancelling is unavoidable”
Festival Republic had previously called off the 2020 outings of Download Festival, set to feature Kiss, Iron Maiden and System of a Down, and Latitude, which had a line-up including Liam Gallagher, Haim and the Chemical Brothers.
This week also saw the cancellation of the 20,000-capacity Cornbury Music Festival, which was to feature Dido, Jack Savoretti and the Waterboys, as well as Judas Priest-headlined metal festival Bloodstock. Organisers say the event will be back for a bumper five-day edition in 2021.
Other major UK festivals to cancel due to the coronavirus outbreak include Boomtown (Wu-Tang Clan, Underworld, the Libertines), Bluedot (Bjork, Metronomy, Groove Armada), Black Deer (Wilco, the Waterboys, the Dead South) and Y Not Festival (Royal Blood, Richard Ashcroft, Bombay Bicycle Club), adding to cancellations of AEG Presents’ All Points East and British Summer Time Hyde Park, Live Nation’s Parklife, Lovebox and Isle of Wight Festival, and Glastonbury Festival.
In Scotland, which has limited self-government within the UK, DF Concerts’ Trnsmt (Courteeners, Liam Gallagher, Lewis Capaldi) and Regular Music’s Summer Nights at the Bandstand (Rick Astley, Van Morrison, Primal Scream) cancelled after first minster Nicola Sturgeon suggested public gatherings would be banned for the foreseeable future.
In the neighbouring country of the Republic of Ireland, festivals including Longitude and All Together Now cancelled last month, as the government announced a blanket ban on events over 5,000 people until 31 August, although it recently indicated that smaller events would be permitted from 10 August.
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The Isle of Wight Festival has announced the first artists playing its 2019 event. Traditionally marking the start of the UK festival season, the Isle of Wight Festival returns for its 51st year from 13 to 16 June in Seaclose Park, Newport.
More than 70,000 people attended the event last year over three days of live music in Newport on the Isle of Wight.
Noel Gallagher’s High Flying Birds will kick off proceedings on the Friday evening, returning to the festival for the first time since 2012. On the Saturday, George Ezra will make his first major UK festival headline debut and Isle of White Festival veterans Biffy Clyro will take the headline spot on the closing night.
“We are delighted to be headlining the Isle of Wight Festival again. ’Tis a beauty. Hail Satan,” comment the Scottish rockers.
Elsewhere, festivalgoers will see performances by Anne-Marie, Bastille, Courteeners, DMA’s, Miles Kane, Haçienda Classiçal and Freya Ridings. Award-winning DJ and producer Fatboy Slim will make his Isle of Wight debut, playing the main stage for a special guest slot on Saturday night.
“It’s going to be brilliant to return to the beautiful Isle. I’m extremely flattered to have been asked to headline and can’t wait to get up and play”
“It’s going to be brilliant to return to the beautiful Isle and play new songs to an audience that has heard the record. I’m extremely flattered to have been asked to headline and can’t wait to get up and play,” says Ezra, who previously performed at the festival in 2017.
Tickets go on sale for the festival on Friday 25 January at 9am. Presale tickets for Barclaycard users will be available from Wednesday 23 January at 8am. Weekend tickets cost between £145 and £175, with children under 12 entering free. A range of accommodation is available, including luxury tipis with cocktails and hot breakfast, and ethical camping experiences.
Live Nation acquired a majority stake in the festival in March 2017, adding to its portfolio of music festivals around the world.
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John Giddings has said he has no plans to step down from Isle of Wight Festival, as he celebrates a “bumper year” for the long-running UK event.
Giddings – speaking to IQ in a brief moment of downtime amid a five-night run for Phil Collins at Lanxess Arena (18,000-cap.) in Cologne – says his day job with Solo Agency, whose other upcoming shows include Iggy Pop, Little Mix and U2, means the festival remains a “hobby” rather than a moneyspinner: “Every penny I’ve made from the festival I’ve invested back into it,” he explains. “Rod Stewart’s got a train set – I’ve got a festival!
“How many other people can say they can pay artists far too much money to come and play on the Isle of Wight and invite all their mates…?”
If social media is anything to go by, Giddings’s friends weren’t the only people who had a good time at the 16th festival, held over four days last week (8–11 June).
Although he “never gives out” attendance figures, Giddings (pictured) says the 2017 event had a “very good atmosphere” and points IQ towards social media – on which he keeps a keen eye throughout the weekend – for a sample of attendee feedback. (A quick look on the festival’s Facebook page sees visitors saying they had an “awesome weekend” at a “fantastic” event – and lots of praise for the surprisingly clean loos.)
“It’s good to have a visible promoter – it gives the festival an identity”
“You need to read social media,” continues Giddings. “It’s the first thing people will turn to if they have any complaints – so if they’re congratulating you, you know you’ve done well.”
Giddings’s personal highlights of the festival include Friday-night co-headliners Run-DMC and David Guetta (“five out of five”), Arcade Fire, who made their Isle of Wight debut on Saturday after “a number of years’” worth of approaches, and Rod Stewart, who closed the festival on Sunday night.
He also praises the new talent on display, including The Amazons, The Sherlocks, Bang Bang Romeo and Judas, all of whom got “great reactions” from the crowd.
As with Download, held concurrently in Leicestershire, there was a beefed up police presence at the festival, with armed officers from Hampshire Constabulary deployed throughout the festival site. Giddings says the police “behaved so well”, both in making attendees feel safe and getting into the festival spirit (a selection #policeselfies were posted on the @FestivalCop twitter account).
Isle of Wight Festival 2017’s policing commander, Hampshire’s Supt Simon Dodds, says the support his officers received from festivalgoers was “overwhelming”. “The fact that the policing family and the public were able to communicate so well has made the experience all the more safe, reassuring and enjoyable for all,” he explains.
Giddings resurrected the long-dormant Isle of Wight Festival brand in 2002 after a 32-year hiatus – “I’m lucky because I’ve got an iconic name from the 1970s, so it’s on everyone’s bucket list,” he jokes – and agreed to sell a majority stake in the festival to Live Nation earlier this year.
“You need to read social media … If people are congratulating you, you know you’ve done well”
While that deal is now under investigation by the Consumer and Markets Authority, Giddings has no regrets about joining forces once more with the world’s biggest promoter, using the metaphor of a train leaving the station: “it was either get on board [with Live Nation] or be left on the platform.”
Along with Download’s Andy Copping, Bestival’s Rob da Bank and the Eavises at Glastonbury, Giddings is one of the few UK festival promoters well known to (and easily contactable by) the general public – a status he embraces. “It’s good to have a visible promoter,” he explains. “It gives the festival an identity.”
Returning the theme of social media, Giddings explains that he welcomes criticism from festivalgoers, saying feedback from attendees is key to continually improving the event. “I don’t think I’m perfect,” he says. “I appreciate constructive criticism, because I want to make it better for everyone.”
With many festival bosses already having a rough idea of what they want their 2018 line-ups to look like, Giddings says he hasn’t had time to even “start thinking about next year yet”. Does this mean he’s looking to step down any time soon, IQ wonders?
Not so, explains Giddings, who says he has “no idea” when he might hand over the reins. “Nobody would do this job for the money,” he concludes. “We do it because we enjoy it. So I’ll stop doing it when it stops becoming enjoyable…”
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