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Secret Garden Party founder scoops award

Secret Garden Party founder Freddie Fellowes admitted he was “humbled” to be presented with the Outstanding Contribution to Festivals at the UK Festival Awards at east London’s Troxy last night.

Award directors’ judged that he “held a pivotal role in the formation of the now thriving boutique festival scene”.

Fellowes said: “I feel very humbled by this, and to tell the honest truth, this has been not only an honour and a privilege but also an utter blast to have been a part of. Every year so many people gave so much to make this party and in return got so much back from it. It was beautiful. I’m glad for all of those people that it’s been recognised.”

“This has been not only and honour but also an utter blast.”

A spokesperson for the awards said: “Across its illustrious 15-year tenure, the Secret Garden Party consistently set the creative benchmark for UK festivals – shifting the focus away from big name headliners in order to cultivate an extraordinarily immersive and participatory atmosphere through fantastical set design and meticulous attention to detail. It facilitated a grant system to encourage upcoming artists and acted as a springboard to a whole host of creative people – musicians, installation artists,  performers, chefs, technicians – who have gone on to forge successful careers around the world.

“In addition to pioneering in the creative side of festival organisation, Fellowes has not been afraid to tackle current issues head on. He has been widely commended for being one of the first organisers to sanction MAST drug-testing facilities at a festival, a practice that has since been rolled out across many other festivals and events in the UK. And, with his wife Joanna he has been very vocal about promoter duty of care concerning the issue of sexual assaults at live music events.  He encouraged AIF to set up the sexual safety charter for events.”

Latitude (cap. 39,999) scooped Best Major Festival at the ceremony, hosted by comedian Rufus Hound. Best Medium Festival went to End of the Road (14,000), headlined this year by Father John Misty, Jesus and Mary Chain and Mac Demarco; while Lincolnshire’s Lost Village Festival (5,000) won Best Small Festival.

TRNSMT Festival (50,000), promoted by DF Concerts on Glasgow Green, picked up Best New Festival, and Camp Bestival won Best Family Festival. CODA won Agency of the Year, while SJM Concerts picked up Promoter of the Year.

The UK Festival Awards are decided by a combination of public vote and industry judges. Previously held at the Roundhouse, it moved to the Troxy for the first time this year. The UK Festival Conference, usually held on the same day as the awards, was discontinued.

The full list of winners is:

Best Major Festival
In association with Ticketmaster
Latitude Festival

Best Medium-Sized Festival
In association with Peppermint Bars 
End of the Road

Best Small Festival
Lost Village

Best New Festival
In association with Skiddle 
TRNSMT Festival

Best Metropolitan Festival
Slam Dunk Festival

Best Family Festival
Camp Bestival

Best Non-Music Festival
Bournemouth 7s

Promoter of the Year
In association with Imaginators 
SJM Concerts

Agency of the Year
Coda Agency

The Brand Activation Award
In association with CGA 
The JägerHaus

The Grass Roots Festival Award
2000trees

Best Overseas Festival
Outlook Festival

Best Festival for Emerging Talent
In association with Skiddle 
Dot to Dot Festival

Line-Up of the Year
In association with Tuned In Travel 
Liverpool Music Week

Best Festival Production
In association with PRG XL Video 
Lost Village

Marketing Campaign of the Year
Kendal Calling with Tour.Media

The Innovation Award
In association with Transition Video 
The Loop

Concession of the Year
Piecaramba!

Best Hospitality
In association with Pernod Ricard 
Barclaycard presents British Summer Time Hyde Park

The Outstanding Contribution to Festivals Award
Freddie Fellowes

 


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How streaming has changed the industry

In March this year, Ed Sheeran broke the UK singles chart top-20 record when, thanks to his streaming figures, his songs occupied 16 places in the list. It’s just one example of the dramatic way that streaming has changed the music industry.

At a time when sales of CDs and CD players were starting to decline, streaming suddenly emerged as the dominant way for people to consume their music. Record labels may have had to change what tracks they release, how they release them and how they market them, but in many cases streaming has kept them profitable. For some, like Warner Music Group, streaming has become the most important source of revenue. For others, it’s making them more money than ever before.

You might think that with the greater ease of access to music that streaming has brought about, that attendance at live events would be in decline. After all, attendance at cinemas is dwindling as people increasingly choose to watch films on their TVs, computers or smartphones. But in the case of live music, the opposite has happened. In fact, according to UK Music’s Wish You Were Here study, audience attendance at concerts and festivals in the UK is up to a record 30.9million annually. The live sector is one of the most vibrant and profitable parts of the music industry, and it is through ticket sales and merchandise that most musicians generate the majority of their revenue.

“Promoters understand the advantage they have over streaming services is that they offer not just music but an experience”

This may have something to do with the effect streaming has had on the profits of individual artists. Streaming has complicated the way they make money, and reduced the total amount they earn to the extent that some artists, such as Taylor Swift, have tried to boycott streaming altogether. Swift famously pulled her music off Spotify and refused to allow Apple to offer music from her latest album. It may have been a shrewd PR move (her eventual return to streaming was covered by every major newspaper and website) but it’s no secret that one of the challenges facing streaming services and record labels is appeasing and alleviating the fears of artists while still offering tracks cheaply to their customers.

It’s also to the credit of festival and concert organisers that they’ve thrived in the new musical environment. These organisers understand that the advantage they have over streaming services is that they offer not just music but an experience, and they’ve looked to improve all the elements that together make live music an experience, such as the stage design, the lighting and the pyrotechnics. At the same time, they’ve managed to keep the price of tickets at an affordable (though increasing) level. An all-day festival in the UK costs between £50 (€57) and £100 (€113); a single standing ticket to see Drake costs £110 (€125).

“Despite the improving health of the live music industry, for some festivals making a profit is no longer a given”

But can this model endure? With the proliferation of outdoor festivals comes the fact that the market is getting pretty saturated. There has been a sharp fall in the amount of money that is spent at smaller venues (those with a capacity below 1,500). In London, where costs are rising, licensing is strict and property developers wield a lot of power, these venues have declined in number by 35%.

With more and more festivals coming on stream, it is the artists who are benefiting most: they are now able to up their fees while different festivals compete to secure their presence. And despite the improving health of the live music industry on the whole, for some festivals, making a profit is no longer a given. One or two of the existing festivals are beginning to pull up stumps. This will be the last year of Secret Garden Party, for example, and there are rumours that other long established festivals might not appear next year.

As the figures show, live music has more than weathered the changes to the wider music industry. The live market has always been a valuable revenue generator for established artists, and this will always be the case. Nevertheless, the future may not look so bright for smaller festivals and small music venues. Their fate remains to be seen.

 


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Support for festival drug testing grows in UK

Respected UK charity the Royal Society for Public Health (RSPH) has called for drug-testing facilities, such as those trialled at Kendal Calling and Secret Garden Party last summer, to be made standard at all music festivals “where drug use is common”.

In a new report, Drug safety testing at festivals and night clubs, released this morning, RSPH says the move, “which is backed by 95% of festival-goers, [would] help minimise the risk of serious health harm as a result of recreational drug use”.

Secret Garden Party became last July became the first British festival to give attendees the chance to test the content of their drugs without fear of recrimination, with Kendal Calling following a week later. Jon Drape, whose Ground Control Productions company works with Kendal Calling, told IQ at the time drug testing is a “no-brainer”, adding around a quarter of those who tested their drugs opted to bin them after discovering their content.

RSPH’s own data suggests a similar figure of almost one in five (18%).

Drug testing at both festivals was undertaken in partnership with nonprofit The Loop, which will also introduce the testing – officially ‘multi-agency safety testing’ (MAST) – at several Festival Republic events this summer, including Reading and Leeds.

“If drug users can be reasonably sure of what they are actually taking, they will be better placed to make informed decisions about if and how to take these substances”

MAST, or a local variant thereof, is already commonplace in continental Europe, including the Netherlands, Austria and Spain. Efforts to introduce drug testing in Australia have been frustrated by local government and police, with festival promoters in New South Wales told they could face prosecution for drug supply.

According to RSPH, the need for pill testing at festivals has become more acute with the rise in strength of the average ecstasy pill. As reported by IQ last May, MDMA use is on the rise across Europe, with a simultaneous increase in the availability of high-MDMA pills and powdered and crystal forms of the drug.

“Given that a large degree of health harm associated with ‘club drugs’ stems from user ignorance of the exact strength and content of pills and powders of uncertain provenance, any measures that increase our knowledge base can be expected to have a positive effect on reducing harm – especially if the provision of such information creates an opportunity to impart information on safer behaviours and risk reduction to the key target population,” reads the RSPH report.

“If drug users can be reasonably sure of what they are actually taking, then they will be better placed to make informed decisions about if and how to take these substances, and so are less likely to have an adverse reaction or overdose as a result.”

MAST, therefore, says RSPH, is a “pragmatic harm reduction measure” which should “become a standard feature of places where drug use is prevalent, such as city-centre nightlife areas and festivals.”

 


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Secret Garden Party 2017 to be the last

There will be no Secret Garden Party (SGP) beyond 2017, the festival’s founder, Freddie Fellowes, announced this morning.

The multi-award-winning Cambridgeshire event – this year headlined by Crystal Fighters, Metronomy and Toots and the Maytals – yesterday teased its “biggest-ever announcement”, but few expected that announcement to be of its cancellation.

A press release from SGP, which has grown exponentially since its founding in 2003, says it was a difficult choice to axe the festival, “as either too early or too late would have consequences for the loyal gardeners [festivalgoers]”.

Festival promoter Backwoodsman Ltd’s latest full-year accounts show it lost £115,319 in 2015, an improvement on 2014’s -£182,002. At a capacity of 32,000, SGP is the largest outdoor event in the UK with no sponsors or brand partners.

“Fifteen years ago I started out with a set of ideas as to what makes a good party and the most perfect venue for it,” says Fellowes, who as the eldest son John Ailwyn Fellowes, 4th Baron de Ramsey, is heir apparent to the de Ramsey baronetcy. “But with no set idea of what the destination was for this venture, the festival was, at that time, the perfect medium through which to explore these ideas. But rather than getting too excited and telling you about the phoenix we are going to raise from all of this, it bears explaining why we are lighting the fire.

“This summer will be the almighty send-off that the Garden Party deserves … think of it more as ‘Dylan goes electric’ than our Altamont”

“Much has changed since our first Garden Party, when there was nothing else like it in the UK: Facebook, YouTube and Twitter had yet to be invented and no one knew what a boutique festival was, let alone glamping.

“Since then the Garden Party has defined and redefined outdoor events in the UK, [and] we have done so as a collective of truly independent outsiders. We have never compromised our principles and we never will. SGP has always been a beacon of what you can do within those terms and, as imitation – being the sincerest form of flattery – proves, it has set the bar for everyone else going forward.

“But it is exactly because of those principles, and the love of those who have made the Garden Party what it is, that we are committing this senseless act of beauty.

“What better way to honour the love that has been given to this project and wholly demonstrate this principle than finishing now? This isn’t some principled self-immolation; this is opening up it for the future. So this summer will be the almighty send-off that the Garden Party deserves, and while that is going to cause some tears to be shed, think of it more as ‘Dylan goes electric’ than our Altamont.

“Because, after all, you can’t be avant-garde from within an institution and lest we forget: the frontier always moves.”

 


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Pill testing: the cure for music’s drug problem?

The issue of drug deaths at dance music festivals was thrust once again into the spotlight this week following a spate of misfortunes for the Hard Summer event in California.

First, relatives of a 19-year-old woman, Katie Dix, who died after taking designer drugs (‘bath salts’) sold as ecstasy at the 2015 festival – one of two fatalities, along with 18-year-old Tracy Nguyen, who died from MDMA “intoxication” – announced they are suing promoter Live Nation for “turning a blind eye to the known risks” of drugs “in order to capitalise on teenagers and young adults who believed they were attending a safe party environment.”

Then news broke that three young people (Derek Lee, 22, Alyssa Dominguez, 21, and Roxanne Ngo, 22) had died at Hard Summer 2016 last weekend, held in the city of Fontana for the first time after being forced out of Los Angeles following the deaths of Dix and Nguyen. Although Hard published a long list of safety precautions prior to the event – and, it should be noted, the causes of death are still undetermined – the fatalities are likely to spark further discussion about what more can be done by festival promoters to keep patrons safe at their events.

While banning drugs at EDM events is a good first step, it’s fast becoming clear that a more radical approach beyond prohibition is needed if the industry is to tackle its growing drug problem

Representatives of a number of major electronic dance music (EDM) festivals, as well as a spokeswoman for Amsterdam Dance Event, were keen to highlight to IQ their events’ zero-tolerance drug policies. However, while banning drugs at such events is a good first step, with close to 30 deaths at EDM festivals since May 2015 others believe that a more radical approach beyond simple prohibition is needed if the industry is to effectively tackle its growing drug problem.

At the Ibiza International Music Summit (IMS) in May, ‘The Future of Our Industry’ panel discussed just that, and the delegates’ consensus was that promoters should work with governments to focus on harm reduction in addition to enforcing drug laws. CAA agent Maria May criticised what she sees as a “double standard” towards drugs in EDM, which she acknowledges are “part of our culture”, and said she’d like to see an “industry standard for things like crowd control, free water and cool-down areas. I’d like to know that if I’m going to a club there are some measures in place for if people get into trouble.”

Tommy Vaudecrane, production director of the Paris Techno Parade festival, blasted France’s “terrible drug policy” and called for a “more mature approach” to preventing drug deaths, including facilitating the testing of drugs to ensure they don’t contain any potentially fatal adulterants. “We don’t have any testing at events,” he explained, [and] you have to be careful in what you say, because if you give information about a specific drug you can be [prosecuted] for inciting people to take it.”

Front-of-house drug, or pill, testing is already in force at events in the Netherlands, Austria and Spain, explains Jon Drape, managing director of Ground Control Productions, whose clients include the Parklife Weekender, Kendal Calling, Live from Jodrell Bank, Lollibop, Festival №6, The Warehouse Project and Snowbombing, and is a “no-brainer” for dance music events serious about minimising the risk of drug-related deaths, he tells IQ.

“I’d like to know that if I’m going to a club there are some measures in place for if people get into trouble”

“Unfortunately, I’ve had to deal with the aftermath and effect of having a drugs fatality” – there were two deaths from PMA-laced ecstasy in 2015 at The Warehouse Project – “and all you want to do is make sure it never happens again,” he says. “I’m sure everyone in the industry will be looking at it [pill testing].”

Kendal Calling, which took place last weekend, was one of two festivals to introduce pill testing this year, following a similar trial a week earlier at Cambridgeshire’s Secret Garden Party (SGP). Both festivals, with the full cooperation of local police forces and public health authorities, partnered with drugs charity The Loop to allow festivalgoers to test drugs at the gate to establish their content.

“We’ve been working for six or seven years with [The Loop co-director] Professor [Fiona] Measham, who has been researching the use of illegal drugs for three decades,” Drape continues. “We started by interviewing festivalgoers about what they consumed, and also did some testing of urine samples to see what drugs they had consumed. It gave us an interesting picture about what festivalgoers were up to, but didn’t give us any way to reduce risk.”

Drape says around 25% of those who tested their drugs at both Kendal Calling and Secret Garden Party opted to bin them after discovering their content. There were 80 “substances of concern” discovered at SGP, including extremely high-strength ecstasy, ‘ketamine’ that was actually an antimalarial and ammonium sulphate – used as a soil fertiliser and insecticide – sold as MDMA.

“Drugs will get onto the site, so it’s our responsibility to make sure people remain safe”

“Drugs will get onto the site, so it’s our responsibility to make sure people remain safe,” says Drape, who adds he’d like to see a similar system introduced at dance music-focused Parklife.

Prof Measham says its Multi Agency Safety Testing (MAST) can “help people make informed choices, raising awareness of dangerous substances in circulation and reducing the chance of drug-related problems occurring” and describes it as “an important innovation that we know can reduce risks and potentially save lives.”

She adds that “other countries in Europe have had testing services like this at events for years; the UK is just catching up, and we are pleased to be part of that evolutionary process”.

While pill testing is, as Prof Measham says, well established in much of Europe and gaining ground in Britain, groups pushing for similar schemes in other major touring and festival markets – notably North America and Australasia – have run into stiff opposition.

“Other countries in Europe have had testing services like this at events for years. The UK is just catching up, and we are pleased to be part of that evolutionary process”

Melissa ‘Missi’ Wooldridge, the director of Denver-based charity DanceSafe, estimates that her organisation tests drugs at fewer than ten US festivals each year (with Backwoods in Oklahoma one of the notable exceptions), and Insomniac CEO Pasquale Rotellas said in his Reddit AMA that it is unlikely to change any time soon: “Unfortunately some people view partnering with DanceSafe as endorsing drug use rather than keeping people safe, and that can prevent producers from getting locations and organising events.

In Australia, meanwhile, the Australian Drug Law Reform Foundation is risking prosecution by pushing ahead with plans to introduce pill testing at a number of upcoming Sydney festivals, despite the New South Welsh government declaring the project to be illegal.

In addition to its testing advocacy, DanceSafe is currently lobbying for the scrapping of the US Illicit Drug Anti-Proliferation Act (formerly the Reducing Americans’ Vulnerability to Ecstasy, or RAVE, Act), which it says dissuades many event promoters from providing “basic safety measures (ie free water, cool-down space, drug education materials, even the presence of DanceSafe!)” for fear that their presence “prove[s] that they know drug use is present, and make them vulnerable to prosecution”.

Speaking at IMS, Mark Lawrence, CEO of the Association for Electronic Music (AFEM), says a priority for his organisation is to “lobby for change in the legal and political environment for promoters to raise the level of harm reduction they can publicly achieve”. “For the first time in the two years I’ve been at the association, everybody has realised that poor standards of harm reduction and lack of ability for promoters to be open about drug testing or education impacts the entire industry,” he commented.

“I think we need to show drug use exists, and it’s a problem, but that it’s not linked to music or culture – it’s linked to government policy”

There is, of course, no silver bullet – pill testing included – to stop drug deaths at live music events: a significant minority of festivalgoers, especially those at EDM events, are always going to take drugs, and everyone reacts differently to their effects. But pushing for positive change at a governmental level and fostering a culture of openness between promoters, patrons and police and local authorities, as exemplified at Kendal Calling and SGP, is a start.

“I think we need to show [drug use] exists, and it’s a problem, but that it’s not linked to music or culture – it’s linked to government policy,” said Vaudecrane.

“We need to work with organisations to set up a global electronic music policy that includes harm reduction, by saying, ‘Yes, we have drugs, here’s how you take them if you’re going to take them’, and warning people: ‘This is a bad product, don’t take it.'”

 


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SGP becomes first UK fest to offer pill testing

Secret Garden Party (SGP) last weekend became the first British music festival to offer on-site pill testing.

As part of a 10-minute health and safety session provided by drugs charity The Loop and supported by Cambridgeshire police, local public health authorities and festival promoter Secret Productions, festivalgoers were able to submit drugs for testing to establish their content before consumption. Around 200 people did so, discovering over 80 “substances of concern”, including extremely high-strength ecstasy, ‘ketamine’ that was actually an antimalarial and ammonium sulphate – used as a soil fertiliser and insecticide – sold as MDMA.

SGP founder Freddie Fellowes tells The Guardian’s Libby Brooks he is “thrilled” to be a pill testing pioneer. “Harm reduction and welfare is a vital part of hosting any event, and it’s an area that for too long has seen little development or advancement,” he says.

“Around a quarter of people who brought in their drugs asked us to dispose of them… We were taking dangerous substances out of circulation”

Pill testing schemes have already been trialled in festivals in the Netherlands and Germany, although Australian promoters have been warned they could be charged with drug dealing and manslaughter should they try to implement anything similar.

Steve Rolles, senior policy analyst for Transform Drug Policy Foundation, which mediated between SGP and local authorities, praised the scheme’s removal of potentially harmful substances from circulation at the festival.

“Around a quarter of people who brought in their drugs asked us to dispose of them when they discovered that they had been mis-sold or were duds,” he explains. “We were taking dangerous substances out of circulation.”

There were a record number of police at SGP 2016 in response to an increased threat of terror.

 


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Festival Focus: Lindisfarne, SGP, Gibraltar Fest

Conleth Maenpaa, the founder of Lindisfarne Festival, has urged the British public to support the UK’s independent music festivals following the cancellation earlier this week of fellow Northumberland event Down to the Woods.

“We were very disappointed to learn about the cancellation of Down to the Woods,” Maenpaa, a director of Nokomis and Bor Events, the promoter behind Lindisfarne, tells eFestivals. “Last year also sadly saw the cancellation of the Northern Lights event in Newcastle, and there seems to be a growing trend of smaller independents across the country also having to close. We are really keen to urge people to get behind our local festivals, to join in the fun and help protect their future and legacy.

“While the market is tough out there, we are lucky to be seeing a steady stream of ticket sales for Lindisfarne Festival 2016. I think what makes it difficult is that the public know that a lot of these north-east festivals won’t sell out straight away, hence waiting to purchase tickets till nearer to the time. This can make it hard for organisers to plan when you are anticipating demand ahead of the event, knowing how much to invest and so forth.”

Reef and British Sea Power will headline the second Lindisfarne Festival, on Friday 2 and Saturday 3 September, respectively.

Mick Hucknall, Simply Red, Soulnation Festival 2010, Jazzuality.com

Down to the Woods is the second UK indie to go under in two weeks, with Summer Days Festival at Clitheroe Castle in Lancashire also calling time on its second outing just weeks before it was due to kick off on 6 July.

A spokesman for the festival, which was to have featured headliners Simply Red, Jools Holland and Echo & the Bunnymen, says: “We have looked at every angle possible to keep the event live, but due to a combination of factors, including rising cost and newly arisen logistical obstacles ,we have no choice but to call Summer Days off.

“Support for Summer Days has been both incredible and humbling and makes this decision all the harder. You have our heartfelt apologies. Thank you again for all your support.” (Mick Hucknall/Simply Red photo by Jazzuality.com.)

Bill Bailey, Royal Albert Hall, 2008, Nick Webb

In happier news, Festival Republic’s Latitude has added further names to its Comedy Arena line-up.

Among the newly confirmed comedians are headliner Bill BaileyMilton Jones, Katherine RyanRobin Ince and Josie Long and Reece Shearsmith and Rufus Hound of The League of Gentlemen, who will present Festival Shambles, a Latitude-themed edition of their Book Shambles podcast. (Bill Bailey photo by Nick Webb.)

Maribou State, Oslo, Hackney, Marc Sethi

The Secret Garden Party (SGP) has chosen a new headliner to replace Primal Scream, who earlier this month cancelled their slots at SGP and seven other festivals after frontman Bobby Gillespie fell off the stage at Caribana Festival in Vaud, Switzerland.

UK dance music duo Maribou State will step up to the plate, joining other new additions Molotov Jukebox, Clean Cut Kid, Sundara Karma, Secret Company, Kloe, Mt Wolf, Nimmo, Blondage, Kioko, Stony Browder Jnr and Belle Roscoe at the psychedelic extravaganza in Abbots Ripton, Cambridgeshire, from 21 to 24 July. (Maribou State photo Marc Sethi.)

Brian Jonestown Massacre, L'Aéronef, Lille, 2014, Laurent Breillat

Nous Productions/Radical Production’s Rock en Seine, set for Château de Saint-Cloud park in west Paris in the last weekend of August, also finalised its line-up this week, adding 20 new acts including The ShinsThe Brian Jonestown MassacreLittle Simz and film composer Flavien Berger.

Here are the new additions in full:

Rock en Seine 2016 complete line-upRock en Seine 2016 complete line-upRock en Seine 2016 complete line-up

(Brian Jonestown Massacre photo by Laurent Breillat.)

And American R&B singer and prolific songwriter Ne-Yo will play a British festival exclusive (well, ‘British’) alongside Bryan Ferry, The Vamps and Toploader at the fifth Gibraltar Music Festival this September.

The festival, backed by Gibraltar’s government, takes place on the 3rd and 4th at the UK overseas territory’s 5,000-capacity Victoria Stadium. Already confirmed are Stereophonics, Jess Glynne, All Saints, KT Tunstall, Foxes and more.

 


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No extra police at 10/11 UK festivals this summer

Only one out of the 11 constabularies tasked with policing major British music festivals have increased their presences at this summer’s events, despite warnings they could be terror targets.

Neil Basu, deputy assistant commissioner at the Metropolitan police, said late last month that his force is on “high alert” for potential attacks at large public events this summer, and warned that large concerts and festivals, “where you put a small town into a small area for a couple of hours”, are “right at the top of the agenda”.

An investigation by Sky News’s Lucy Cotter revealed that Cambridgeshire constabulary, which will police the Secret Garden Party near Huntington, is the only police force confirmed to be beefing up the number of officers on duty. The force also revealed that it has sought advice from “counter-terrorism security advisors in relation to the event and the policing of it”.

Cambridgeshire constabulary, which will police the Secret Garden Party near Huntington, is the only police force confirmed to be beefing up the number of officers on duty

Hampshire constabulary declined to comment on the number of police who would be at Bestival and the Isle of Wight Festival, but said it was working together with promoters and local authorities to “prepare for a range of scenarios, including terrorist-related acts”.

Writing for IQ, Ian Carr of Intermedix said earlier this month that many event organisers and venue owners in the UK are unprepared for a major disaster like a terrorist attack, with some still using an archaic “‘post-it note and courier’ system to communicate with key internal and external audiences during emergencies”.

 


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