Located on the front lawn of the Irish Museum of Modern Art and just a short distance from the Guinness brewery, it is not unexpected that the initial round of tickets for Dublin’s Forbidden Fruit festival were completely sold out in a matter of days.
The roster – a diverse combination of experienced performers, fresh faces, and throwback acts – is among numerous festivals currently being revealed for the upcoming summer season. “We have Nelly Furtado, who hasn’t graced an Irish stage in 24 years, as well as Bicep and Barry Can’t Swim, who are part of the generation of artists with clever monikers that audiences adore,” explains festival organizer Will Rolfe.
However, he explains that it has been a significant difficulty behind the scenes. The festival was able to secure 90% of their desired artists, which is uncommon. The industry is currently facing a shortage of top-level headliners. The most popular and successful artists are opting for their own tours instead of festivals due to the potential for higher earnings.
Forbidden Fruit is not alone. Festival organisers are reporting that the UK is no longer an appealing destination for global headline acts. With huge numbers of green spaces being given the go-ahead to hold events, organisers say there are struggling to find bands to fill them, and Brexit border delays are making matters worse.
Protecting American performances is particularly challenging. A lot of American concerts use a “dynamic” ticketing system, meaning the price fluctuates based on demand. This often leads to extremely high prices. For example, tickets to see Bruce Springsteen on a US tour can cost several thousand dollars, while tickets for Taylor Swift are just under $900. While a top-tier headliner at a festival in the UK may receive a fee of over £2 million, the financial expectations for American acts are much higher.
Artists who are solely interested in performing, like those at Glastonbury, may be exempt from certain rules. Others may be willing to pay a fee for the exposure. According to Rolfe, some may even accept a lower payment.
There is concern that the UK is losing its importance. Sacha Lord, co-founder of Parklife festival and adviser for Greater Manchester’s night-time economy, states that the UK is not currently a desirable option. When trying to secure popular international artists, the UK faces tough competition from other countries.
Programmer Noah Ball, who works on Dorset’s We Out Here festival and Cross The Tracks in Brixton, explains that securing headliners for next summer is more challenging than in previous years. He notes that the cost of events has increased by 30-40% in recent years, making the business even riskier. Therefore, it is crucial for events to carefully select their line-up in order to be successful.
According to booking agent Claudio Lillo, artists are seeking higher compensation for their performances. However, touring expenses have also risen significantly, making it more costly for artists to go on tour. Lillo represents artists such as A$AP Rocky, Playboi Carti, Priya Ragu, and Ezra Collective, and he notes that even festivals are struggling with budget constraints due to the rising costs of artists.
The demand for elaborate performances is increasing. Popular acts like Lana Del Rey go beyond having only dancers and backup singers. They also incorporate choreography, screens, filming, and rehearsals, which all come with a significant cost. For electronic musicians, even just incorporating lasers and lights can be expensive. It can easily cost tens or even hundreds of thousands of dollars just to put on a show. At a recently built venue in London that can hold 15,000 people, the total cost for talent, production, and overall expenses can reach into the tens of millions.
The decision for Brexit has further exacerbated the situation. Previously, performing in the UK would be a stop on a larger European tour. Lord explains, “You would go to Brussels one night, then Paris the next, and then Manchester two nights later.” However, with the current border situation, artists and their teams cannot risk having their equipment delayed. This has led to the loss of headlining acts and significant problems within the industry. Additionally, being compensated in British pounds is not ideal, according to Lord.
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According to Kelly Wood, the national organizer for live performances at the Musicians’ Union, there is a decrease in the number of acts participating. This is due to the need for travel checks, which is discouraging people. As a result, promoters are now focusing on local talent or forming partnerships to make the performances more attractive.
One issue is that financially struggling local governments are leasing their public parks for music festivals, but there aren’t enough popular artists to fill all the available slots. Luke Huxham, who oversees development and planning for London’s and Drumsheds, believes that next summer will be particularly competitive due to the high demand for artists. He states, “Many promoters are vying to secure the same performers.”
Sarah McBriar, founder and creative director of AVA festival in Belfast, which is in its 10th year, says people still want to go to festivals and their tickets sell quickly, but the weekend they are on at the end of May, there are now “four or five others at the same time”.
Fred Again, an electronic artist, has quickly risen from producing behind the scenes to headlining the popular Reading and Leeds festival in just a few years. However, for many artists, it takes a significant amount of time and touring to build a dedicated fanbase. According to Ball, the issue lies in the fact that festivals prefer performers who have a proven track record of selling tickets. This creates a gap between the number of artists who reach a large audience and the limited availability of events that can accommodate massive crowds.
One major complaint is that the line-ups all seem to be the same. However, Lillo believes that festival organizers are not willing to take risks. He argues, “They claim there aren’t enough big-name acts, but how can you become one if no one is willing to give you a chance?”
Source: theguardian.com
