{"id":287942,"date":"2024-09-26T15:20:53","date_gmt":"2024-09-26T13:20:53","guid":{"rendered":"https:\/\/www.exitfest.org\/?p=287942"},"modified":"2024-09-26T15:30:29","modified_gmt":"2024-09-26T13:30:29","slug":"a-festival-nowadays-is-a-very-risky-business","status":"publish","type":"post","link":"https:\/\/www.exitfest.org\/en\/a-festival-nowadays-is-a-very-risky-business","title":{"rendered":"IFF 2024: “A festival nowadays is a very risky business”"},"content":{"rendered":"

The litany of obstacles facing the festival sector formed the basis of the opening panel of this year\u2019s International Festival Forum (IFF).<\/strong><\/p>\n

Held today (25 September) in London Bridge,\u00a0The Festival Season 2024<\/em>\u00a0was moderated by IQ magazine\u2019s James Drury, featured high-profile agents Summer Marshall of CAA and Primary Talent International\u2019s Matt Bates, plus Serbia\u2019s Exit Festival co-founder Dusan Kovacevic and Goodlive\u2019s Fruzsina Sz\u00e9p, MD of Munich\u2019s Superbloom and festival director of Lollapalooza Berlin.<\/p>\n

The session began with a presentation of\u00a0ROSTR x IQ\u2019s analysis of the European festival summer<\/a>\u00a0by ROSTR co-founder and CEO Mark Williamson.<\/p>\n

A key talking point related to gender equality, as 69% of all artists across all lineups were men, while 97% of every band and every solo act that played a headline slot were male (the full analysis appears in the\u00a0new issue<\/a>\u00a0of\u00a0IQ<\/em>).<\/p>\n

\u201cThere\u2019s still a lot of big female artists out there, but rather than playing at festivals, they\u2019re staging their own outdoor shows,\u201d <\/em>offered Bates, who added the trend was not exclusive to women performers. \u201cWhen you\u2019re a huge artist nowadays, there\u2019s a tendency to do your own thing rather than performing at a festival which would\u2019ve been the norm 10 to 15 years ago<\/em>,\u201d he said.<\/p>\n

Bates considered the shift could yet be a blessing in disguise for festival organisers.<\/p>\n

\u201cA major positive about headliners doing their own thing is that festivals now have a better opportunity to help break through emerging acts and mid-level artists<\/em>,\u201d he explained.<\/p>\n

Kovacevic agreed with the sentiment, pointing out that, in Exit\u2019s case, it forces the festival itself to become the headline act rather than a select number of big names. \u201cThis will force other festivals to not rely too much on headliners, but to focus on the overall experience instead<\/em>,\u201d he said.<\/p>\n

Sz\u00e9p added that increased awareness of the types of brands sponsoring festivals and rising costs have made festival-goers more cautious when it came to expenditure.<\/p>\n

\u201cThe younger generation are a lot more sensitive to what they\u2019re spending their money on, which mirrors what artists are questioning when it comes to choosing what festival they\u2019re willing to put their names on<\/em>,\u201d she explained.<\/p>\n

The session also touched upon navigating the controversial issue of\u00a0artists pulling out of festivals<\/a>\u00a0due to sponsors affiliated with various political situations.<\/p>\n

\u201cIt\u2019s all about communication<\/em>,\u201d Marshall said. \u201cIt\u2019s a very personal decision for each artist, and as an agent, if you\u2019re presented a deal a year in advance but the sponsors haven\u2019t been confirmed yet, it becomes a tricky situation<\/em>.\u201d<\/p>\n

\u201cAs an agent, we\u2019ll be quite careful not to have our own opinion, so we really have to stay neutral all the time,\u201d Bates added. \u201cSome of the situations involving artists pulling out of slots aren\u2019t just due to political reasons. I\u2019ve had acts that refused to play because they didn\u2019t like the brand, which they might find to be damaging to their own reputation. It\u2019s always a balancing act<\/em>.\u201d<\/p>\n

Furthermore, the panel agreed that festivals would have to cater for audiences that are more socially and financially conscious than in the past.<\/p>\n

\u201cWe can\u2019t continue raising ticket prices every year, so it\u2019s important to keep thinking of creative solutions to keep the younger demographic coming to festivals<\/em>,\u201d said Sz\u00e9p, who cautioned: \u201cA festival nowadays is a very risky business.<\/em>\u201d<\/p>\n

And despite the issues that have threatened the festival business since the pandemic, the panellists remained optimistic about the direction of travel.<\/p>\n

\u201cIt\u2019s absolutely vital that festivals focus on spotlighting emerging artists and continue to create the headliners of tomorrow<\/em>,\u201d Kovacevic said, with Sz\u00e9p adding that this is a \u201cgreat way to minimise costs that would usually increase significantly with major headline acts<\/em>\u201d.<\/p>\n

Article & photo by: IQ Mag<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The litany of obstacles facing the festival sector formed the basis of the opening panel of this year\u2019s International Festival Forum (IFF). 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