MUSIC FESTIVALS

tended her first music festivals as a professional DJ. “This year, I paid £5.50 for a bottle of Fanta at Slam Dunk. Some of the merchandise was as much as £40 or £60. The ticket price has also doubled – which I guess is to be expected.” Besides owning her own hair salon, Kelly is a big Green Day fan that performed as the lead, Whatshername, in the American Idiot musical in Swindon. “They have become less ‘alternative’ and way more commercial,” she adds. “Now you get anyone from Dolly Parton to Robbie Williams, with festivals happening everywhere all the time, which has its pros and cons.”

“The most striking change I noticed was the diversity in music,” says Jimmy Mavroudis, who is a Pathway Manager at a college, lecturing in media to students. He also created the Pop Scoop platform, which offers users practical experience in the music and entertainment industries. “Unlike in the past when festivals were genre-specific, today’s line-ups feature artists from various genres like country, rock, hip-hop, and pop sharing the stage.”

Whilst more and more genres originate with new technologies and innovative approaches, a study from the New York Times has shown that the musical diversity of the top 40 charts has decreased exponentially over the last few years, following a surprisingly consistent footprint. If we add a formulaic sound to how social media makes seemingly random things and songs trending, it’s not uncommon to find The 1975, Doja Cat, Rosalía, and Muse in the same playlist. So, the hodgepodge makes sense, but if you’re driving a bigger variety of listeners to the same spot, shouldn’t that have a positive effect on ticket sales and a consequent reduction on prices?

“Like everything operating costs have increased,” thinks Nicky Shallcross, owner of online homeware store interior superior in Edinburgh. She was late into the festival game, as she was afraid of crowds, but her job in the fashion industry made her brave her first Glastonbury in 2006. “Brexit has really hit the music industry hard, EU bands wanting to play the UK face increased customs costs to transport their equipment. The UK festivals need to pay EU acts more to cover these costs, otherwise it’s not attractive. Musicians need to make money and should be paid for their talent; they don’t make the same amount of money from physical album sales due to streaming.”

“One significant change I’ve observed is the substantial increase in prices. While a small increase is to be expected, Brexit barriers have made it economically unfeasible for many artists to travel to gigs, leading them to raise their prices. Consequently, festival organisers have followed suit, hiking ticket prices,” echoes Jimmy Mavroudis, “Unfortunately, some opportunistic vendors have taken advantage of the situation, driving prices to exorbitant levels at larger festivals.”

Streaming has indeed made a dent in artists’ profits, which would explain why merch is constantly being pushed with fresh designs with every release and tour. But most bands play festivals at a loss. Michael Eavis once revealed in an interview that Coldplay and Paul McCartney were both paid around £200,000 for past headline sets. Standing tickets for Coldplay, who sold out six nights at Wembley Stadium this summer, were £104.50. Deduce venue fees, roadies, and the rest of the team and still… you do the math.

So, what’s actually so expensive about music festivals when most of them have sponsors that paid thousands and thousands of pounds? Whatever it is, it’s undeniable that it’s working. Since the very first music festival, the UK’s festival scene has blossomed, with countless events every year. Music festivals like Reading and Leeds, Download, Latitude, and Bestival have gained significant prominence, drawing massive crowds and showcasing and array of genres to cater to diverse tastes. They’ve become cultural touchstones, not only for music but also for fashion, art, and youth movements, providing a platform for emerging talent and established artists alike. But this expansion of the festival culture has its pros and cons.

The fact that the line-ups cover a wider range of music genres makes it more accessible to people. Think about it: your posh, goth, biker, and punk friends can all join and spend a weekend getting their wellies muddy together; the cross-pollination and collaboration of different artists can lead to unique performances and innovative music that transcends traditional boundaries; and broadening music horizons also helps artists grow larger fanbases. But mixing multiple genres in one festival can present challenges for sound engineers and production teams, who have to adapt quickly for a 30-minute set where sound quality might not be a priority. And, let’s face it, watching Jessie J perform just right after Bob Dylan is incredibly disorienting.

There’s definitely something beneficial about having Bad Bunny, Becky G, Gorillaz and Blondie play in the same festival – especially for organisers. We see Coachella, where people spend thousands of dollars in tickets just to, right after, spend thousands of minutes thinking about which outfit is more striking. The photos need to be taken in the right spot and you better be a showstopper if you want to make it worthwhile. The skimpier, flashier, and more out there the outfit is, the better. Influencers get tickets gifted whilst others just dream about crossing the gates to the ferris wheel to an oasis full of video games, dance competitions, photo ops, and lounges sponsored by the biggest brands in America with a solid and trending soundtrack in the background.

We had our fair share of that here starting with Kate Moss making appearances at Glastonbury and making wellies popular worldwide. It’s nothing new. But it comes to a point where you ask yourself: is this