FEATURE:
The Rise of the British Festival Scene: A Time for Celebration?
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OVER the weekend, I will be looking at a range of themes…
and sides of music. I will address Hip-Hop and the growing influence it has had – and how it has evolved the past three decades – and other cool things. That is for then but, for now, I am interested in the festival scene of Britain. In the news, the past few weeks, we have heard reports of bad weather afflicting various festivals. An article by The Independent investigated claims, by patrons of BoomTown festival, that people were fainting in hostile conditions – having to queue for hours and barely moving:
“The searches are very thorough this year which as previously warned is lengthening queuing time - speed this up by using amnesty bins.”
Later, just before 3pm, the festival tweeted: “GATES UPDATE: All gates are now open. Thank you for your continued patience.”
Cordelia Keston, a ticket-owner who was still queuing at the time of writing (5.20pm), spoke to us about her experiences live from the scene stating she had arrived two and a half hours previous and had only moved a maximum of “50 metres.”
Describing the queue's movement as “snail-pace,” Keston said: “We're trying to stay optimistic but there are no stewards around telling anyone anything. We feel a bit like sheep - there are no barriers, we're all in a huddle.”
Commenting on the reports of fainting, she told us that all she hadn't seen anybody pass out herself and had earlier seen someone handing out water which was then chaotically “thrown” into the crowd so everyone got some”.
We cannot do much about the British weather but it seems, in order to make festivals as secure as possible; we are compromising public safety to an extent. Of course, a couple of festivals are going to be afflicted with logistical and security issues. I think, in the case of BoomTown, there were some failings – which marred an, otherwise, great event. There are, as we know, so many other festivals occurring around the country that one can attend. It makes me wonder, when it comes to queuing and complaints, where the issue lies. Naturally, people want to come and see live music but are we being over-protective and under-resourced?
Describing the queue's movement as “snail-pace,” Keston said: “We're trying to stay optimistic but there are no stewards around telling anyone anything. We feel a bit like sheep - there are no barriers, we're all in a huddle.”
Commenting on the reports of fainting, she told us that all she hadn't seen anybody pass out herself and had earlier seen someone handing out water which was then chaotically “thrown” into the crowd so everyone got some”.
We cannot do much about the British weather but it seems, in order to make festivals as secure as possible; we are compromising public safety to an extent. Of course, a couple of festivals are going to be afflicted with logistical and security issues. I think, in the case of BoomTown, there were some failings – which marred an, otherwise, great event. There are, as we know, so many other festivals occurring around the country that one can attend. It makes me wonder, when it comes to queuing and complaints, where the issue lies. Naturally, people want to come and see live music but are we being over-protective and under-resourced?
IN THIS PHOTO: BoomTown festival (2016)
The threat of terrorism is real and ever-present but it seems like security has been stepped-up hugely in the past year. Maybe it is the increase in attendees that means festival staff are unable to cope with the huge numbers. We must protect everyone who attends a festival but I feel we are a bit too nervy and over-protective in the wake of recent attacks. One can never protect and safeguard every public gathering but there needs to be vigilance. I am not sure the exact details of BoomTown but let’s hope things have improved for the last day or two. Weather...we can do nothing about – it is one of those things that can affect a festival immeasurably. Rather the bemoan the grievances and problems; let’s acknowledge the great events happening around the country and the loyal music-lovers willing to risk rain and rancour.
IN THIS PHOTO: Eva Lazarus (who performed at last year's BoomTown)
Victorious Festival is one of the more-recent events that shows how passionate the young generation are (about them). That was set-up in 2012 by three friends – James Ralls, Ben Miles and Andy Marsh – and will go down from 25th to 27th of this month, in Southsea. There are some big names on the bill: it is recognised as one of the best family-friendly festivals in the country. V Festival is on 18th and is that hardy perennial (if that is the right gardening-related term?!) that brings in a, predominantly, younger crowd. Virgin V Festival 2017 and Creamfields are up soon and it means August is going to a hot one. After that, Reading and Leeds will bring in a very large and eager throng. Whatever your tastes and preferences: there is a festival that suits your tastes. With so many fears surrounding the dwindling of live venues around the nation; I wonder whether festivals are replacing smaller spaces – people able to afford a once-a-year jaunt rather than regular attendance. It is encouraging to see the number of festivals increase. People are getting out there and keen to soak up live music.
PHOTO CREDIT: Jenna Foxton
Those big festivals – Reading and Leeds; Glastonbury – pulls in more mainstream tastes; same can be said of Bestival and Victorious. Radio 1 has their Big Weekend and there are festivals representing the biggest radio stations in the country. Even though Secret Garden Party bade farewell this year: it is one of those boutique festivals that has had an enormous effect and inspired other organisers to change their ways and make a more varied and inspiring festival. I will not go into that side of things but am pleased there are so many smaller, unique festivals providing a worthy alternative to the mainstream. I wanted to update my feature regarding festivals – I wrote one a couple of months back – because, there and goods and bads to the rise of the festival scene. I can only imagine how hard it is for organisers making their lineups eclectic and original.
IN THIS PHOTO: V Festival
One looks at the festival posters and sees a lot of the same artists appearing. That is good for reasons – if you do not live near one festival, and want to see an artist, you can catch them elsewhere – and provided a steady yearly income. It also means, given the number of festivals, a lot of the best upcoming artists have a platform to perform on. The best thing about the festival explosion is the choice and health of our music economy. Genres and tastes are not being excluded: one can catch the best Dance, Metal and Alternative sounds without having to travel too far. The fact so many artists appear at many festivals does not necessarily put people off. Such is the richness and the sheer number of artists at each festival; the odd replication is inevitable. Many might look at lineups and say there is too much predictability and homogenisation. I will address that in the final part but, before then, the boom and fertility of new festivals. With every Secret Garden Party – and, because it is no more – there are two or three popping up.
IN THIS PHOTO: KT Tunstall (she plays Towersey Festival in Thame, on Friday, 25 August, 2017 (18:00)
The fact 'everyday Joes/Jos' can set up their own festivals means it is more achievable and ‘for the people’. There are those corporate festivals that continue to dominate but the emergence of promising new festivals means the balance might redress in the coming years. At any rate, it is positive for musicians having so many chances to perform – and the associated freedom, choice and availability for music-goers. Many might be dissuaded by the terrorist attacks and threats to our national security. That doesn’t seem to be the case this year: business is booming and people are unaffected (relatively) by those atrocities. One can go here to get a list of all the festivals happening in the coming months – the volume and variation is staggering! The fact more people are getting out there and desperate to get to festivals can only be a good thing. It means international artists – who might not have considering straying beyond big U.S. festivals in the past – are tempted here and it shows Britain’s music economy, this side of it, at least, is booming. The simple endorphin-rush and community aspect of festivals means the more we have (festivals); the greater the feel-good factor.
There are ‘bad’ factors that are more complex than one might imagine. One might ask how much money those big stars get. Does someone like Ed Sheeran or Foo Fighters make a bundle from their appearances at festivals like Glastonbury?! A recent article, explained:
“Radiohead, Katy Perry and Ed Sheeran are among those taking to the stage at this year’s event, but Eavis has said it won’t do much for their bank balances.
She told BBC 6 Music’s Matt Everitt that acts earn “less than 10%” of what they could make at other festivals.
"We're not in a situation where we're able to just give people enormous amounts of money," she explained.
"So we're really grateful for the bands that we get, because they're basically doing it for the love of it."
Founder Michael Eavis had, for context, previously revealed that £200,000 was once paid to Coldplay.
“Although it sounds a lot, they could have charged me far more,” he said at the time.
Oasis, for example, were believed to be paid upwards of £1m when they topped the bill at Reading and Leeds in 2000.
Oxfam, WaterAid and Greenpeace are among the charities who benefit from the money Glastonbury makes, rather than the musicians who take part”.
An earlier piece by The Telegraph shed more light on the complexities and rationale:
“Mintel’s senior leisure analyst, Michael Oliver, says this growth has been down to two key factors. Firstly, there has been an 8pc increase in the average ticket price for major festivals between 2013 and 2015. Secondly, and perhaps most crucially, is what he terms the “explosion” in the number of festivals since 2010.
As an example, the number of festivals listed on festival website eFestivals has jumped from 496 in 2007 to 1,070 last year. Steve Heap, chairman of the Event Industry Forum and general secretary of the Association of Festival Organisers, says the industry has been “swamped” with new festivals.
“More and more of these events are cropping up, and more and more people are realising that, if they want to go to festivals, they can go to one relatively near to home,” he says. As well as the number, the nature of festivals has also changed dramatically, with greater focus on the “experience” of the event, rather than just headline acts. “More and more festivals don’t depend on the big act,” Heap says.
“They depend on putting on a great experience which has got a lot more to it than just the artist and the music.” So, if everything is going swimmingly, why are new festivals collapsing? Heap says, on the whole, there are always “a few” festivals that either close down, collapse or go bankrupt each year.
“Every time one closes down, two others start,” he says. Perhaps that is the problem. There is a concern that the market has become oversaturated and will plateau as a growing number of people try their hand at running a festival, seeing it as an easy ticket to riches.
That pot of gold very rarely materialises, though, and Heap says only a few of the smaller festivals are financially lucrative. “It is harder now than ever to make a profit,” he says. “Apart from the big boys, the festival scene is not making loads of profit. “The new ones coming up have a crack at it and think themselves very lucky if they just get by. Some of them, especially the ones who think they will make a quick buck, usually don’t and quite often just collapse.”
IN THIS PHOTO: Tiesto
One of the biggest hurdles to profit is the considerable cost of organisational factors such as the staging, lighting, speakers and lavatories, which can very easily – and very quickly – spiral out of control. The second major problem is artist fees. As is well documented, a decline in record sales has led musicians increasingly to view live performances as their primary source of income. Because of that, the artists are charging higher fees than ever before.
Without the musicians, it can be incredibly hard to sell tickets, but with the artists, the festival’s balance sheet can become strained. Neil Warnock, head of worldwide music at United Talent Agency, represents artists such as Glastonbury headliners Muse, Motörhead and Dolly Parton.
He says the fees paid to artists at festivals have become “far more attractive” in recent years. “We have almost gone back now, full circle, to artists earning their money on the road, like they did in the ’60s,” he said”.
IN THIS PHOTO: Foo Fighters (who, like the other headliners at Glastonbury, were not paid as much as one might imagine)
I guess there is an intent desire and passion in the festival stars. They are not in it for the loot and, within reasonable boundaries, are prepared to take a pay-cut. The warnings can’t be that bad but one imagines the payment for smaller acts is a lot more modest. I suppose, if one wants to put themselves on the map, they have to tour and get out there – often barely making a profit from a year of touring. Maybe that desire and push to get exposure is forcing many to, not only perform at as many festivals as possible, but be prepared to play for less money than usual. There are those security concerns but, I guess, in a time where terrorism is a very real threat; can we undermine and under-source security personnel? The recent fiascos at Boomtown and other festivals have been as much dictated by the weather as human error. It is inevitable there will be some mishaps but there are definite creases to be ironed-out. There have been fights and complaints, yes, but that was the results of a ‘perfect’ storm: the delays, heat and invariable stresses that built up. It is a rare exception but one we need to learn from. We can see, from the creation of new festivals and masses flocking to them, the British music scene – in this dimension and corner – is burgeoning and healthy. My hope is this proliferation and blossoming lets the government and decision-makers know – who affect the funding and survival of small venues – realise there is an enormous desire for…
IN THIS PHOTO: Secret Garden Party (2015)
INCREDIBLE live music.