Siobhán Daly’s Post

#Beonix #Loud #Cyberness Reflect Festival #Fengaros at #ETKO #Kolla in #Limassol and #Nicosia are just a few of the new and upcoming cutting edge productions taking place and lightening up routines with their creativity. A few points below on what goes on behind the scenes of organising a music festival of such large scale, from a legal perspective.

🎶 Music Australia launches Music Festivals Survey 🎶 Music Australia is calling for information from festival organisers across the country about their 2024 festivals (held, in planning, or cancelled). Recent years have seen significant challenges for music festivals due to the impacts of the COVID-19 pandemic, extreme weather events, regulatory changes and rising operational costs. Following the publication of Soundcheck: Insights into Australia’s music festival sector, alongside ongoing festival cancellations, there has been much discussion about the way forward for the music festival sector. Music Australia are now seeking updated data from festival organisers so that they can understand how current pressures are playing out across the festival sector. Festival organisers are invited to contribute by 1 May 2024 and can contact comms@creative.gov.au to participate. Read Soundcheck: Insights into Australia’s music festival sector via https://lnkd.in/gEBY-32p #music #industry #survey #haveyoursay #festivals #tourism #visitoreconomy #regionalnsw #nsw

https://lnkd.in/g-kMfkwH 🎵 This is an interesting article you might want to check out 🎵 Music festivals are struggling a lot at the moment but according to this article some music festivals that are genre-specific are still doing really well. We might start to see a shift towards less musically diverse music festivals. I think that this would be quite sad because we'll lose a lot of music that isn't considered mainstream or marketable. I guess the music festivals will do what they have to do to survive 😔 #MusicFestivals #AustralianMusic #GenreSpecific #EventCancellations #MusicIndustry

Today, UK Music Ltd has published new research into the value of gigs, concerts and festivals to local economies, revealing that a total of 19.2 million music fans travelled from UK towns and cities and overseas to see shows and festivals in the UK in 2023. Dr Jo Twist OBE (she/her), CEO of BPI: "This welcome news shows that the UK continues to be a global centre for live music, with live gigs, concerts and festivals bringing huge value to the British economy.   While there are challenges, particularly for smaller venues, it's particularly exciting to see significant growth in music tourism in the South West and North East, which is testament to the vibrant music ecosystems and incredible talent all across the UK.   We have an exciting opportunity to work together, in the industry and with government, to boost creative skills and education and give opportunity to talent from all parts of the UK. This is why it's so important that all parts of the music sector, including under-threat grassroots venues, are enabled to perform their vital role in supporting artists’ careers." Read the story in full: https://lnkd.in/eveZqrxS

Lots of music festivals have been canceling shows this year for a large variety of reasons. From, "surging production costs, high ticket prices and consumer demand.... expenses for producing these festivals...." to "Consumers... reducing the number of live music events they go to," the future of music festivals seems to be up in the air. This article provides a lot of possibilities that may all provide some input as to why music festivals seem to not be doing so great this year, and how the future may look for this part of the live music market a a whole. David Philp #music #musicindustry #musicfestival #concerts

I understand the logic. Music Festivals = Tourism influx / economy boost That is undeniable. But I believe this is bad for the industry. The moment gargantuan brands like Summersonic & Tomorrowland (both mind you, have received tremendous support from their respective governments, tourism boards, grant schemes, local fan base and sponsorship from companies) enter another market and is welcomed by the government; there are massive things at play in the back end that many people are not aware about: 1. Artist fees in those markets do not reflect the artist fees for the same artist in the Thailand market -> this means expect fees to go sky high 2.Production expectation are from international players that have no knowledge of the local market ; and this is again going to increase costs exorbitantly 3.Fans are going to 'FOMO' in -> unknowing to all this and see the ticket prices shred their bank balances (USD250 - 500) at the minimum. While I applaud the efforts of the Thai government to take proactive action and looking into boosting revenue, I believe the best brands have been in Thailand all along and should be cultivated to grow into other markets instead: There's Together Festival, 808 Music Festival, S20 Music Festival, Siam Songkran, along side many other insanely amazing independent promoters that work tooth and nail to build something for fans in thailand; They should be getting the grants, the support and the sponsorships to build these brands they've spent their blood, sweat and tears for. Article here: https://lnkd.in/gaHd3szV

Some thoughts - be them articulate or not. But it's somewhere to start. Whether you see yourself as the kind of person that would go to Splendour or not, or see the value inherent in large scale music festivals... zoom out and look at the wider industry. Not just live music, but Arts and Culture. As a concept. As a vital and integral part of our wellbeing and community. Our economy. Yes, cost of living pressures. Yes, increased costs for delivering events. Yes to all of it. But don't tell me that we haven't spent a lifetime calling the Arts a luxury. Non-essential. Well, my lifetime anyway. Artists, events, producers and venues need people to buy tickets but we also need the support of the government and regulatory bodies to actually make this all work. For example, the influx of large scale international acts mean the local music industry is neglected. It also means that if we can't develop local appetite for new acts and bands. The same applies to theatre. To visual art. It tumbles and tumbles along. I am sad for the growing homogeneity of our Arts and Culture sector if we can't take risks anymore because the bottom line is the only thing we have to focus on. If we don't have the support across the board to make sure we can grow and nurture an industry which is so important, we won't exist. It starts from the ground up. It can't just be the responsibility of the ticket buyer. It can't be. https://lnkd.in/gN2rxNUE

JamBase’s breakdown of the global surge in music festivals, complete with the most booked acts of 2024, is a fascinating read. I know the average festival-goer isn’t losing sleep over the insurance side of things, but with data-driven risk management on the rise, it’ll be interesting to see if insights like these start shaping markets and premiums. And more importantly I am absolutely here for the returning nostalgia acts. “A noteworthy shift marking the recent landscape is the resounding return to festival stages of 90s/2000s pop-punk and nu-metal “legacy” acts in 2024 including: The Offspring (27), Avril Lavigne (11), Sum 41 (23), and Limp Bizkit (11) none of whom or the likes of whom had more than a handful of festival plays in the previous 4 years. After years of contemporary pop artists dominating headlining slots, nostalgia is showing up as a dominant trend in festival lineup curation” #MusicFestivals #LiveMusic #MusicInsurance

New research from UK Music Ltd shows music tourism spending in 2023 was £8 billion – an increase of 21% on 2022. 📈 London saw a 40% rise in music tourists from 4.9 million in 2022, to 6.9 million in 2023. As the world’s second largest exporter of music, this data highlights the soft power of our music sector and promotes Britain's position as a cultural superpower. 🎵 However, the record-breaking numbers are down to arena and stadium-size events while the grassroots and live music ecosystem struggles: - 125 music venues closed in 2023... - Over 50 festivals closed this year… The current system isn’t fit for purpose….which means plenty work for new policymakers. Amending legislation around planning, financial support and cultural recognition is critical. 🏛 https://lnkd.in/d6Td9RQN

Here are the 6 top [new] statistics from Australia's Music Festivals. These are the numbers laid out that everyone keeps trying to guess. The team Creative Australia have just released 'Soundcheck'. It's a report giving insights into the currently volatile festival sector. No matter what part of the music business you are in, the health of the festival sector affects your business. From breaking new artists, to employing vast numbers of talented crew and festival specialists, and onto revenue from royalties, merch, and brand hook ups this sector is important. The report really dives into the facts that you should inform yourself of so that we can have an informed discussion about how to keep the music business moving forward down under. Here are some of the key statistics uncovered in the report. The number of music festivals >>> 535 States with most festivals >>> Vic & NSW ... 149 ea. Festivals by Genres Electronic 23% Rock 21 % Country 19% Indie 17% Artists by Country Australian 80% International 20% Festival Audience Sizes 1,000 to 10,000 >> 42% 10,000 to 20,000 >> 19% Costs, profits and losses? Average cost to run a festival >>> $3.9m Median Profit >>> $731, 579 - 56% of festivals. Median Deficit >>> $470,000 - 35% of festivals. These figures were drawn from a survey of the festival sector conducted between June and December 2023. The full report is available for download at https://lnkd.in/gjZ8jp2g Want more like this? Follow to get regular updates and info. https://lnkd.in/gEvQZa6W