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TCE & Broadwick Live team to launch Brooklyn venue

Independent live music firms TCE Presents and Broadwick Live have unveiled collaborative venue Brooklyn Storehouse in the US as the first major project of their newly formed transatlantic partnership.

The 5,000-cap space will open this month at the Brooklyn Navy Yard and will be continuously reconfigured and transformed to create a “wide array of spatial environments” and welcome “innovative and dynamic shows at the intersection of arts, music and culture”.

Confirmed upcoming gigs at the New York venue include Justice, Charlotte de Witte and Eric Prdyz, with more shows slated to be announced in the coming weeks.

“As a native New Yorker, born in the boroughs, creating something at this scale in this location, that will bring jobs and world class culture into the heart of Brooklyn, is a once in a lifetime opportunity,” says TCE Presents founder Rob Toma. “As independents, Broadwick and TCE have shared a similar approach in looking to create incredible experiences in iconic locations, and I believe our partnership will develop spaces that set a new standard across Pan America.”

Broadwick and TCE Presents say they share “a commitment to delivering unforgettable moments and experiences in spaces that merge industrial heritage with creative innovation”.

“We are committed to repurposing industrial spaces in an unexpected way that honours their past and creates lasting value for local areas and communities”

“We are committed to repurposing industrial spaces in an unexpected way that honours their past and creates lasting value for local areas and communities,” adds Luke Huxham, director – development & place at Broadwick Group. “The Brooklyn Navy Yard has a history that dates back to 1801, and we couldn’t be prouder to contribute to its legacy, working in partnership with The Brooklyn Navy Yard Development Corporation to generate jobs and economic impact for the city.

“Brooklyn Storehouse is an impressive hybrid home for culture. The top goal of our development is that it becomes a global institution and urban landmark. We strive to provide visitors with a broad range of experiences and content that will stick with them on an emotional level.”

Since being established in the UK in 2010, Broadwick has acquired 30-plus venues and entertainment spaces, selling in excess of one million tickets per year. It has developed cultural brands including Printworks London, Drumsheds, Depot Mayfield, Magazine and Field Day, while also venturing outside music into immersion art exhibitions, fashion shows, corporate events, filming and celebrations.

TCE Presents has been a major player in New York nightlife over the past decade, pioneering large-scale events under a portfolio of event brands led by the house and techno-focused Teksupport. It produces more than 150 shows per year.

Broadwick and TCE Presents are also supported by Rockstar Games, which is a strategic investment partner in Broadwick, and collaborates with TCE Presents on an array of events, as well as the Circoloco Records music label.


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Festival Friday: Lineups, newbies & cancellations

It has been a week of ups and downs in the world of festivals, with new events announced, alongside further cancellations and lineup confirmations.

In the US, Connecticut’s biggest music festival Sound On Sound has been rechristened as Soundside Music Festival under C3 Presents. Noah Kahan and Foo Fighters will headline the event – known for its unique rotating single-stage set up – at Seaside Park in Bridgeport from 28-29 September.

Queens of the Stone Age, Goo Goo Dolls, Teddy Swims, Fleet Foxes, Norah Jones, Boyz II Men, Gregory Alan Isakov, Grace Potter, The Kills, Lisa Loeb and Nine Stories will also appear.

“In past years, this festival has drawn in over 50,000 visitors,” says Bridgeport, CT mayor Joe Ganim. “I am sure this year it will again draw tens of thousands who will get to experience all that Bridgeport has to offer. This is another example of how Bridgeport is ‘on the move’ as we strengthen our legacy of being the music and entertainment capital of Connecticut.”

Nine-stage, two weekend music celebration Austin City Limits will welcome headliners Dua Lipa, Tyler, The Creator, Chris Stapleton, Blink-182, Sturgill Simpson and Pretty Lights to Zilker Park over the weekends of 4-6 & 13-15 October. The lineup will also feature performances from Khruangbin, Leon Bridges, Carin León, Norah Jones, Reneé Rapp, Foster The People, Kehlani, Teddy Swims, Benson Boone, CAAMP, Dominic Fike, The Marías, Jungle, Dom Dolla, Chappell Roan, Porter Robinson, Fletcher, Something Corporate and David Shaw.

More than 30 Texas artists will grace this year’s ACL Fest stages, including Khruangbin, Leon Bridges, Norah Jones, Kevin Abstract, That Mexican OT, Mickey Guyton, Penny & Sparrow, Chance Peña, Dexter And The Moonrocks, Bob Schneider, Asleep At The Wheel, whookilledkenny, Kalu & The Electric Joint, The Droptines, Jon Muq, Daiistar, Rickshaw Billie’s Burger Patrol, Late Night Drive Home, Theo Lawrence, Chief Cleopatra, West 22nd and Chaparelle.

C3 Presents’ Sudden Little Thrills festival, due to be headlined by SZA and The Killers, has been cancelled less than a month after being announced

However, C3’s Sudden Little Thrills festival, which was slated to debut at Hazelwood Green, Pittsburgh, between 7-8 September with headliners SZA and The Killers, has been abruptly cancelled less than a month after being announced. In a short statement, organisers say it will no longer take place “due to circumstances beyond our control”.

The Killers will top the bill at Mexico’s Festival Pulso GNP, which will be held at Autódromo de Querétaro on 12 October, with a supporting cast including Belanova, Franz Ferdinand, Los Auténticos Decadentes, Sabino and Simple Plan.

The full lineup has now been released for the ninth edition of Paradise City, which is set for 28-30 June at Ribaucourt Castle, Perk, Belgium. Newly announced artists include David August, Rival Consoles, Rex The Dog, Sally C and OCB, plus homegrown talent such as Bjeor, Catalina, Eline Anne & r.omy, Odymel and RIET.

They join the likes of Bonobo, Maribou State, Marlon Hoffstadt, Job Jobse, Daria Kolosova, Skin on Skin and DJ Gigola. The festival will also feature a seventh stage, dedicated entirely to chill-out, downtempo and ambient performances.

Nelly Furtado will headline free, open-air festival Isle of MTV Malta 2024 on 16 July, when other acts will include DJ Snake and Raye. It will be followed by Isle of MTV Malta Music Week, a series of club nights and parties across various venues on the island with various artists including Benni Benassi, Icona Pop and more from 16-21 July.

Iceland Airwaves has unveiled the second wave of artists joining its 25th anniversary edition, taking place in Downtown Reykjavik this 7-9 November. Highlights include Overmono, The Vaccines, English Teacher, Villano Antillano, Personal Trainer, MRCY, Lynks, GDRN, Monobloc, Gabríel Ólafs, Alice Longyu Gao and cumgirl8, with previously announced artists including Shygirl, Bar Italia, Charlotte Adigery & Bolis Pupul, Joy (Anonymous) and Saya Gray.

And the 10th anniversary Ultra Europe Music Festival will bring Afrojack, Alison Wonderland, Subtronics, DJ Snake, W&W, KSHMR, SLANDER, Vini Vici, Black Tiger Sex Machine, Deborah De Luca and CamelPhat to Park Mladeži in Split, Croatia, from 12-14 July. It will also star Adam Beyer, Boris Brejcha and Martin Garrix.


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Astroworld wrongful death lawsuit trial date set

A wrongful death lawsuit filed in relation to the youngest victim of the Astroworld tragedy is set to go to civil trial in September.

Nine-year-old Ezra Blount was one of 10 people killed in the deadly crowd crush at the festival, which was headlined by Travis Scott at NRG Park in Houston, Texas, US.

Blount’s family is suing Scott as well as companies including event promoter Live Nation and Apple Inc., which livestreamed the November 2021 concert.

AP reports that State District Judge Kristen Hawkins scheduled jury selection to start on 10 September. Scott West, a lawyer for Blount’s family, told the judge they still planned to depose Live Nation CEO Michael Rapino before the trial. Rapino had previously been ordered to give testimony in the lawsuits brought against LN and others.

Live Nation attorney Neal Manne previously fought attempts to have Rapino questioned, arguing that messages dated from prior to the festival proved that the CEO had no involvement in the planning of Astroworld. But lawyers for the plaintiffs said Rapino had correspondence and conversations with a number of people involved in the festival in the immediate aftermath, and as such his testimony is relevant to the litigation.

The lawsuit is the last remaining wrongful death filing relating to the disaster after nine of the 10 cases were settled

At the latest hearing on Tuesday (14 May), Manne said he hoped an agreement could be reached regarding Rapino’s deposition, but added he might still appeal the issue to the Texas Supreme Court.

The lawsuit is the last remaining wrongful death filing pertaining to the disaster after nine of the 10 cases were settled out of court. All of those who died suffered from compression asphyxia. The defendants deny allegations of negligence, among other claims.

Judge Hawkins also scheduled the first trial related to the thousands of injury complaints filed over Astroworld. The trial, which will focus on seven cases, has been set for 15 October. Around 2,400 other injury cases are still pending.

Last year, a grand jury declined to file criminal charges against Scott or anyone else associated with the festival.


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‘A momentous day’: TICKET Act passes in the US

Campaigners have welcomed a “huge step forward” for live event ticketing reform after the US House of Representatives voted to pass the TICKET Act, which aims to ensure transparent pricing for consumers.

The bill, which passed by 388 votes to 24, is the most comprehensive consumer protection ticketing legislation to receive a floor vote since the BOTS Act passed in 2016.

If enacted, it will enforce all-in pricing, ban speculative ticketing, ban deceptive websites and deceptive website marketing, provide fans with a full refund to cancelled events and require a report from the Federal Trade Commission on BOTS Act Enforcement.

“Today marks the furthest federal live event ticketing reform has gone in nearly a decade,” says a statement by the Ticket Buyer Bill of Rights Coalition, which was founded in February 2023 by leading consumer and fan advocacy organisations. “We applaud them for their leadership and their willingness to engage all stakeholders, especially consumer protection organisations, in seeking a truly comprehensive reform package which has consensus by virtually every stakeholder in the debate.”

Brian Hess, executive director of Sports Fans Coalition, hails the vote as “a momentous day for live event ticketing reform”.

“If enacted, this bill will guarantee fans all-in pricing, prohibitions on several deceptive sales tactics, and refund requirements for cancelled events”

“If enacted, this bill will guarantee fans all-in pricing, prohibitions on several deceptive sales tactics, and refund requirements for cancelled events,” he says. “We hope the Senate will pass this vital legislation and that President Biden will sign it shortly thereafter.”

Live Nation was among a number of companies in the US that pledged to adopt “all-in” ticket pricing last summer, and revealed ahead of the Senate hearing that its programme was responsible for an 8% increase in completed sales in its first six months.

“Showing the total cost to walk in the door upfront is better for fans and artists,” said CEO Michael Rapino. “We’re proud to have led the industry in adapting this common sense policy.”

Last year, 19 organisations from across the music industry came together to form the Fix the Tix coalition to “collectively advocate for a ticketing experience better than the nightmare many fans and artists currently navigate”. The coalition comprises firms such as Wasserman, See Tickets, Universal Music Group, Dice and the National Independent Talent Organization (NITO).

“We commend the House on passing the TICKET Act, an important step towards making comprehensive ticket legislation federal law,” says NITO MD Nathaniel Marro. “NITO now calls on the Senate to pass the Fans First Act, which includes a total ban on speculative tickets and requires itemized ticket fees at the beginning of purchase so that fans know the price they will pay and the price the artist intended. We will continue our work to move comprehensive ticket legislation forward.”


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Famed New York venues heading for record 12 months

Madison Square Garden Entertainment’s famed MSG and Radio City Music Hall venues are on track to set new records for the number of concerts held in a year.

The New York-based business made the disclosure during its financial report for the fiscal Q3 2024, in which it reported revenues of $228.3 million – up 13% on the prior year quarter. In addition, it posted operating income of $16.8m and adjusted operating income of $38.5m, down $7.9m and $11.6m, respectively, as compared with the same period 12 months ago.

MSG Entertainment’s portfolio includes New York City’s 20,000-cap MSG, The Hulu Theater at Madison Square Garden, Radio City Music Hall, the Beacon Theatre and The Chicago Theatre, along with the firm’s entertainment and sports bookings business and long-term arena licence agreements with the New York Knicks and New York Rangers.

“Our business continues to outperform our original expectations for fiscal 2024, and we are on track to generate robust growth in our first full year as a standalone public company,” says executive chair and CEO James Dolan. “Looking ahead, we remain confident in the strength of our assets and our ability to generate long-term value for our shareholders.”

Speaking to investors on the firm’s earnings call, Dolan added: “Our booking business, has continued to grow and remains set to achieve a low double-digit percentage increase in events for fiscal 2024. This includes contract growth across all of our venues, with the Garden and Radio City both headed towards setting new records for a number of concerts in the year.”

“For the third quarter, the majority of concerts at our venues were once again sold out”

He continued: “During the quarter, our portfolio of venues hosted more than 1.5 million guests at over 200 live events. A majority of these events were driven by our bookings business, which delivered a double-digit percent increase in total concerts versus the prior year quarter.

“As the volume of events at our venues continues to increase, we are pleased to see it matched by strong demand. For the third quarter, the majority of concerts at our venues were once again sold out.”

The company’s share price has dipped around 8% over the past week to stand at $36.44 at press time.

MSG spun-off its live entertainment and MSG Networks divisions last year to create two distinct companies – Sphere Entertainment and MSG Entertainment Corp. Sphere Entertainment reported an operating loss of $40.4m on revenues of $321.3m for fiscal Q3.


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AEG installs president, NA regional offices

AEG Presents has promoted Brent Fedrizzi to the position of president, North American regional offices.

Fedrizzi, who currently serves as co-president and COO of AEG’s Rocky Mountains and Pacific Northwest regions, is a board member and four-time president of the North American Concert Promoters Association.

He will continue to be based out of Denver, and will be tasked with guiding the firm’s 100 US venues in all aspects of talent buying and promotion, as well as overseeing its 12 regional offices. Fedrizzi will report to AEG chair and CEO Jay Marciano and will also be joining the company’s executive committee.

“I’ve known Brent for close to 30 years and have worked with him almost as long, so it’s especially gratifying to make this announcement,” says Marciano. “He has a vision, a drive, and an insight into our business that’s been forged over his many years promoting events in every type of venue across the western United States. As co-president of our Rocky Mountain region, his feel for the business is a key reason AEG Presents is the dominant promoter in the market and the Denver office is one of our top performers. Simply put, he’s the right person for the job.”

Fedrizzi began his career in 1991 at the Fey Concert Company in Denver, booking artists at venues across the Rockies and the Southwest. In 1998, he teamed up with Chuck Morris and Don Strasburg to launch Bill Graham Presents/Chuck Morris Presents. Through a series of acquisitions including SFX and Clear Channel Entertainment, that company eventually became Live Nation in 2005.

AEG Presents president Rick Mueller announced his departure from the company last week after 13 years

A decade ago, Fedrizzi departed with Morris and Strasburg to join AEG Live as COO of the Rocky Mountain region.

“When Jay and I first spoke about this opportunity, I jumped at the chance to work more closely with him, the regional team, and the company as a whole,” says Fedrizzi. “I’m excited for the challenge ahead, and I can’t wait to dive in; there’s never been a more exhilarating time in live events. I’m grateful for the trust Jay has put in me to guide the business into the future; the ability to do so with the people and the company I love is icing on the cake.”

Fedrizzi’s promotion was announced days after the resignation of company veteran Rick Mueller as AEG Presents president after 13 years with the firm.

“I have loved my time at this amazing company and the relationships I have built with all of you, but I’ve made the decision to step away in order to pursue other interests in my life,” said Mueller in a memo seen by Pollstar. “It’s been an honour to be a part of the team that has grown AEG into such a strong company during my 13 years here, and I’ll be rooting with pride as AEG continues to roll out incredible shows, tours, venues, and festivals.

“I’m grateful to Jay for giving me the opportunity to guide the North American business, and while I am sad to be leaving AEG, now is the time for me to move on. I want to wish all of you the best, and hope to see you all at a show somewhere down the road.”

“It’s our vision to be a best-in-class live sport and entertainment business and it’s our people who enable this”

Meanwhile, AEG Europe as been recognised as one of the best places to work in the United Kingdom by The Sunday Times. The prestigious accolade is awarded to organisations who have consistently high levels of employee experience and inclusivity.

Following an internal survey of AEG Europe’s full-time UK employees – from across its six UK offices and venues, including The O2, Eventim Apollo, indigo at The O2, University of Wolverhampton at The Halls, and award-winning ticketing provider AXS – the business scored an engagement score of 86%, surpassing the industry average by 14%.

“It’s our vision to be a best-in-class live sport and entertainment business and it’s our people who enable this,” says Alex Hill, president and CEO of AEG Europe. “We couldn’t create and host the world’s biggest events without our team and we’re incredibly proud of the work we have done to foster a culture of excellence, inclusion and belonging.”

Kirstie Loveridge, the company’s EVP of people and culture, adds: “We’re passionate about creating an inclusive and rewarding environment where our employees can grow both personally and professionally, allowing them to be the best they can be. I’m incredibly proud of these results.”

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Fan suffers ‘catastrophic’ injuries at concert

A concertgoer suffered a “catastrophic” spinal cord injury after a frontman stage dived into the crowd at a show in the US.

Bird Piché, 24, was attending a gig by Australian punk rock band Trophy Eyes at the Mohawk Place club in Buffalo, New York, on 30 April when the incident took place.

Discussing the “tragic accident” in a post on X, the group said: “We elected to immediately shut down the show as John [Floreani, singer] accompanied them to the hospital with their family.

“Out of respect for the family, we have refrained from speaking about this publicly so far, but with the blessing of their family we are now able to say how truly heartbroken we are to be here now.

“Our friend, Bird, is now in recovery, but still has a long road ahead for them. This situation has shaken us all to our care and we ask for patience while we look to help Bird navigate this difficult time.”

Piché has undergone extensive surgery for her injuries, and Trophy Eyes have donated $5,000 to a GoFundMe page set up to help with her medical bills. More than US$65,000 has already been raised towards its $100,000 target.

“Our policy and practiced procedure is a full show stop for any stage diving which was put into place for this incident”

“She has a long recovery ahead and will need all the help she can get,” reads the page, which was set up by friends Stephanie Brown and Leo Wolters Tejera. “It is still too early to know what her prognosis is but after leaving the hospital she will need to go to a rehab facility. She will obviously not be able to work during this time.

“The funds will be used for medical bills and anything she may need to function in life because of the accident.”

Tejera tells WGRZ that footage was captured on camera.

“The video is wild because unless you knew that someone was hurt in the video, you’d never expect that,” he says. “Like it’s just an average stage dive. The video that I saw on Facebook and then another angle surfaced on a Reddit thread, both of them just seem fairly innocuous.”

Mohawk Place manager Mike Thor says the venue has rules in place around moshing and stage diving.

“There are signs posted everywhere in the venue and notice was included in the emails for this show with the show’s promoter and the band themselves,” says Thor, as per Heavy Consequence. “Our policy and practiced procedure is a full show stop for any stage diving which was put into place for this incident. Currently we are working to put together a charity show to help the injured party with their GoFundMe.”


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New Orleans Jazz Fest pulls in half a million fans

The 2024 New Orleans Jazz & Heritage Festival drew the second largest attendance in the event’s history, according to organisers.

Boosted by an additional day and a long-awaited headline performance by the Rolling Stones, the US festival pulled in half a million people across two four-day weekends to rank behind only the 2001 edition, which was attended by 600,000. Last year’s festival attracted 460,000 fans.

First held in 1970, the Jazz Fest featured over 5,000 musicians across 14 stages at the Fair Grounds Race Course from 25-28 April and 2-5 May, averaging crowds of over 60,000 per day.

It was a case of third time being the charm for the Stones, who previously had to cancel their appearances at the event in both 2019 and 2021. Other artists to appear included Foo Fighters, The Killers, Neil Young and Crazy Horse, Chris Stapleton, Anderson .Paak & The Free Nationals, Hozier and Jon Batiste.

“This year’s festival presented as plainly as ever the beauty of Jazz Fest”

“This year’s festival presented as plainly as ever the beauty of Jazz Fest,” says Quint Davis, producer and director of the event, as per AP. “Watching the Rolling Stones perform with New Orleans and Louisiana stars Irma Thomas and Dwayne Dopsie was to witness the power of the festival to demonstrate the connection of our culture to some of the greatest music of our time.”

Also on the bill were the likes of Queen Latifah, Vampire Weekend, Greta Van Fleet, Heart, Bonnie Raitt, Earth, Wind & Fire, Joe Bonamassa and the Beach Boys.

Next year’s event is scheduled to take place from 24 April to 4 May.


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Nine of 10 Astroworld wrongful death cases settled

Nine of the 10 wrongful death lawsuits filed over the Astroworld disaster have been settled, it has been announced.

Ten people died and hundreds more were injured during the fatal crowd crush at the November 2021 festival at NRG Park in Houston, Texas, US.

As per AP, Neal Manne, a lawyer for the festival’s promoter Live Nation told a court hearing yesterday (8 May) that only one wrongful death lawsuit filed in relation to the tragedy remained pending, with the settled suits including one filed by family of 23-year-old Madison Dubiski.

That trial had been due to start this past Monday (6 May), but was delayed due to a battle over whether Apple Inc., which filmed Scott’s Astroworld performance for an exclusive livestream, should be involved in the case.

Attorney Noah Wexler, who represented Dubiski’s family, confirmed during the court hearing that their case “is resolved in its entirety”. Terms of the settlement, which has been reached with all defendants including Live Nation, Scott and Apple, have not been disclosed.

“The confidential agreement will honour Madison Dubiski’s legacy and promote improvements for concert safety”

“Mr Scott is grateful that a resolution has been reached without the need for a trial,” says Ted Anastasiou, a representative for the rapper. “The confidential agreement will honour Madison Dubiski’s legacy and promote improvements for concert safety.”

The remaining pending lawsuit relates to nine-year-old Ezra Blount, the disaster’s youngest victim. Scott West, an attorney for Blount’s family, told the court the case was ready for trial, but Manne said lawyers for other defendants being sued were not ready.

State district judge Kristen Hawkins plans to discuss the Blount case at a hearing next week along with potential trials related to the thousands of injury cases filed over Astroworld, of which around 2,400 are still pending. Hawkins added that if the family’s lawsuit is not settled, she is leaning towards scheduling that as the next trial instead of an injury case.

In June last year, a grand jury declined to indict Scott, nor anyone else associated with the festival.


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‘The people want it’: All Things Go on diversifying lineups

Independent, female-driven US festival All Things Go is set to celebrate its 10th anniversary this September, with its organisers highlighting how curating a diverse event has paid off.

Speaking with IQ, co-founders Will Suter and Stephen Vallimarescu and brand partnerships and advocacy manager Carlie Webbert discuss the evolution of the DC-based festival. Launching in 2014 as the one-day All Things Go Fall Classic, organisers began curating female-led programming to highlight festivals’ gender imbalance in 2018, with that year’s edition curated by singers Maggie Rogers and LPX.

Since then, the festival has boasted a majority of female and non-binary performers, with the 28-29 September event to be led by Laufey, Bleachers, Hozier, Reneé Rapp, Janelle Monáe, Conan Gray, and Chappell Roan. It marks the third consecutive sellout for the indie event, with 40,000 fans to attend across two days. Last year, the late-summer event expanded from one day, with the 2023 edition headlined by Lana Del Rey, Maggie Rogers, boygenius, and Carly Rae Jepsen.

Gender-balanced festival lineups are rare, with 90% of headline performers being male across 50 European festivals, according to a study by IQ and ROSTR. Across complete lineups, only 35% of artists were female and 1% were non-binary. Attendees have lovingly received the event, dubbing it “Gay-Chella,” “All Things Gay,” and “Lesbopalooza”.

Once you prioritise inclusion, your community will be stronger because you platform voices that usually don’t get the stage,” Webbert says.

Thirty-six artists will perform across multiple stages at ATG’s Maryland amphitheatre base, its biggest edition yet, including Maren Morris, Remi Wolf, Ethel Cain, and Julien Baker. Alongside the music programming, organisers will continue their one-night panel series, the Creator Summit, bringing together leaders in music, media, activism, and technology.

Here, the All Things Go organisers answer 10 questions in celebration of its 10th anniversary.

“Music is a powerful vessel for creating change”

This year marks your 10th anniversary. How are you planning to celebrate the accomplishment this year, and what are you proud to have accomplished over the past 10 years?

Will Suter: We’re celebrating our 10-year anniversary with our biggest lineup to date! We’ll have 36 artists performing over the two days at Merriweather Post Pavilion, in addition to a few surprises along the way. We’re proud to have created a robust community of music fans who circle ATG on their calendar every year and keep coming back — in addition to the new festival fans who might be experiencing the event for the first time.

This year’s edition takes place roughly one month before the presidential election in the capital. What plans do you have to intertwine social activism within the two-day schedule?

Carlie Webbert: Music is a powerful vessel for creating change. For the past few years, we’ve worked with advocacy organisations to ensure we do our part in platforming important causes. Last year we worked with Spotify EQUAL and The Ally Coalition to create a physical activism village on site with six non-profit organisations that were set up for fans to interact with. This year we’ll be working with Propeller, Calling All Crows, Headcount, Peta, Reverb, and more to drive awareness for those organisations along with raising funds. Ultimately, the advocacy arm of the festival will continue to grow and given how engaged the fans at ATG are, we are excited to see the impact that comes from it.

The cost of two-day general admission passes started at just under $200. With the cost of living and live music rising, how could you keep ticket prices down and why is it important to your team to keep the event affordable for different budgets?

Stephen Vallimarescu: Despite costs increasing substantially over the past few years, we strive to keep ticket prices as accessible as possible — and often lower than industry averages. As an independent music festival with a thriving community, we are constantly polling fans to understand what we can do to ensure a better fan experience, which includes affordable pricing and payment plans that start around $35.

All Things Go has openly called attention to putting women and non-binary individuals on the stage, but how is the organisation supporting and engaging those groups working in roles behind the scenes?

CW: Two of our longstanding partnerships are with Women in Music and Amplify Her Voice. These collaborations help us prioritise inclusion month after month. Women in Music supports us in organising the Creator Summit, a panel series held the night before our festival. This event highlights leading women in music, media, and technology. Through our partnership with Amplify Her Voice, we launched a program last year that provided hands-on backstage experiences to over 20 young women and at last year’s festival — an incredibly impactful opportunity for seeing first-hand what happens behind the scenes.

What’s the most memorable bit of feedback you’ve received in the 10 years of programming?

WS: In 10 years of programming, every year has brought new hurdles and new opportunities. We realised a few years into the festival that we need to really listen to and trust our fans. We take our post-festival fan survey very seriously and have launched a few iterations of an ATG fan club to really connect with those fans year-round. It’s ongoing feedback, year after year, on how we can improve our lineups in addition to the overall experience at the festival from the people who are buying the tickets.

“At the very least, ensure you book 50% female or non-binary acts — there is so much talent out there across genres”

Your planning process begins before the previous year’s edition takes place. Can you speak about keeping up with trends in your lineup curation process and how you are set to deliver your biggest offering yet?

WS: The planning process never really ends for the festival. We’re constantly discovering and listening to new music from emerging artists in addition to setting calendar milestones for established artists’ album releases, shows/tours and other festival appearances. The more we’re able to consume and monitor, the better — and it feels like there is more quality across music being released and live shows performed than ever before.

How would you describe the atmosphere of the festival to those who’ve never attended?

SV: The atmosphere at All Things Go is a reflection of our vibrant community, made up of both dedicated fans and boundary-pushing artists. It’s a unique and indescribable energy that covers the festival grounds. Most artists have commented on stage about the distinctiveness of All Things Go compared to other festivals. Our fans are united by a deep love for live music and a common ethos. We stand for something meaningful, and we strive to curate a festival experience that minimises scheduling conflicts and emphasises special moments that fans will remember forever.

In 2023, you hosted the first Creator Summit and brought together voices from the entertainment, music, political, and activism realms. Are there plans to continue this event, and can you highlight any major takeaways from last year?

CW: Yes! The Creator Summit is a significant part of our festival weekend, providing festival attendees with the ability to hear impactful voices from music, media and technology. The event provides a meaningful platform for engaging dialogue for our fans.

Your lineup has been female-driven since Maggie Rogers curated an all-female festival in 2018. Many festivals are still struggling to offer a diverse and balanced bill — what do you have to say to them?

CW: I would say, “Come on! The people want it!” We’ve sold out three years in a row, very fast, with a mostly female lineup. At the very least, ensure you book 50% female or non-binary acts — there is so much talent out there across genres. Once you prioritise inclusion your community will be stronger because you platform voices that usually don’t get the stage.

Describe how you’d like to see All Things Go evolve in the next 10 years.

SV: We aim to further support the next generation of artists and fans by championing their creativity not only through our annual festival but also through our expanding digital platforms. We’re allocating more and more resources to avenues such as newsletters, podcasts, and technology-driven initiatives. Our goal is to enable our community to connect and engage with each other seamlessly, regardless of where they live and beyond the festival weekend.


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