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Bloodstock director steps back after “uninformed” tweet

The director of one of the UK’s biggest heavy metal festivals has “taken a step back” after coming under fire for an “uninformed” tweet.

Vicky Hungerford of Bloodstock Open Air (cap. 20,000) was criticised for tweeting: “If you are going to start putting pronouns on your emails so I can refer to you as he/him she or her I’m binning your emails.”

The festival booker deleted the comments after a backlash on Twitter, and said: “I would like to be clear that I fully support everyone in the LGBTQI+ community and am happy to learn more about how to be a better ally.

“I am genuinely upset that I have caused upset to these very people today, which was in no way my intention.”

A statement from Bloodstock Festival, which is owned and run by independent promoter Amust4music, says: “We are deeply sorry to everyone affected by these uninformed comments.

“For now, Vicky has taken a step back from Bloodstock effective immediately, and will be taking the time to properly educate herself for a better understanding.”

Hungerford has worked for Bloodstock Open Air since 2001. In 2004, she became a director of the festival and took over the booking of all artists for the main stage, and later on, for the second stage too.

In the wake of the director’s tweet, the festival’s entertainment manager Paul Watling has resigned from his role effective immediately.

In a post on Facebook Watling said: “I’ve left Bloodstock as entertainment manager tonight for obvious reasons. There are hundreds of people who make that festival happen, they’re all amazing, and I’ve been so proud to be a small part of it but this is not an isolated incident. You can not promote a festival of inclusivity without including everyone.”

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Black Gold: How metal became a cultural phenomenon

Last year, Iron Maiden singer Bruce Dickinson was bestowed with two very unique honours.

In April, he was made an honorary citizen of Sarajevo in recognition of a concert his solo band Skunkworks played there in 1994, during a prolonged siege of the Bosnian capital. Presenting the award, mayor Abdulah Skaka said: “The arrival of Mr Dickinson in Sarajevo, in 1994, was one of those moments that made us realise that we will survive.”

The other accolade was bestowed upon Dickinson by Dr Cristina Rheims, a Brazilian biologist and metal fan who gave a newly discovered species of spider the name Extraordinarius brucedickonsoni.

If these honours anecdotally demonstrate metal’s soft power, its global reach and the deep devotion of its fans, then the fact that Amon Amarth, a melodic death metal band whose principal lyrical inspiration is Viking folklore, will shake the fields of Wacken Open Air festival with 75,000 roaring fans this summer should be considered testament to metal’s undaunted commercial clout.

“It feels like there’s a cultural movement happening where, if you’re in the metal game and you’re good at what you do, you have a specific brand and you put on a great live show, things are moving,” enthuses Justin Arcangel, president of 5B Artist Management and Touring, who represent Amon Amarth, Babymetal, Slipknot and more.

“All our data – streaming numbers, ticket numbers, merch sales, whatever – are all bigger in 2020 than in 2019. The funny thing is when you speak to some people that don’t work in this genre, they have no idea. Metal is, to this day, outsider music, but let me tell you, it’s a major cultural thing, especially in Europe.”

“What we’ve witnessed across our events is metal is really a community – this outlaw feeling that unites us”

Summer knights
“Some of our hardcore audience think maybe metal is too mainstream now, because in Germany there’s a lot in the charts,” chuckles Thomas Jensen, CEO of International Concert Services and Wacken co-founder, pondering the sea change since he first staged the festival in the German village’s gravel pit in 1990.

Now in its third decade, with all 75,000 tickets for 2020’s edition snapped up in an astonishing 21 hours, Wacken is a major force, with good company in France’s Hellfest (55,000-capacity), Belgium’s Graspop (50,000-cap.), plus the UK’s Bloodstock Open Air (20,000-cap.) and Download, which attracts 110,000 fans over the weekend – a “heavy music summer,” as Jensen calls it. Which is not even to dig into the boom in boutique festivals offering bespoke experiences, such as Italy’s Rock the Castle or the Netherlands’ Roadburn, whose reputation as a tastemaker event means 75% of its 4,000 attendees travel from abroad.

“What we’ve witnessed across Wacken events is that metal is really a community, this outlaw feeling that unites us,” says Jensen. “Our music is a live experience and the whole festival circuit allows bands to survive. For international acts, it’s easier to put a festival run together than it was in the 90s, and you see bands working their way up the bill each year.”

“I’ve only ever seen the metal market over the years grow,” agrees Vicky Hungerford, co-director at Bloodstock, which celebrates its 20th anniversary this year with headline spots from Polish black metallers Behemoth and the UK’s Judas Priest. As well as fostering new talent with their popular Metal to the Masses series of regional shows, where unsigned bands compete to play the festival, Bloodstock strongly believes in paving the way for tomorrow’s monsters of rock.

 

Continue reading this feature in the digital edition of IQ 88, or subscribe to the magazine here.

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