JUNE | OPINION
Yaw Owusu: A
man with a vision
What influenced the line-up this year and what
was the criteria for the festival?
I’m lucky that in my role and with this festival,
I don’t have any such restrictions in regards to
programming. Yes, it needs to reflect the city and
our relationship with music and our ambition
to do something interesting, entertaining and
inclusive. But that’s pretty much it. So for this
year, I’ve just gone with a knowledge of what
works and has worked for LIMF and fits the vibe
of the festival - which is essentially a nuanced mix
of past, present and future.
It can be challenging to make this work over 4
stages – as many festivals have dozens of stages
and areas – but that cohesiveness, I think, makes
a stronger statement and memorable experience
for audiences. No matter what we think, all
these artists and genres are all connected - and
I enjoy helping audiences feel good about that
connection.
What does your role involve and where do you
take inspiration from?
My role essentially covers curating the musical
LIMF node
Liverpool International Music Festival
curator Yaw Owusu gives his lowdown
on this year’s event (20-21 July) and the
state of the industry
content of the festival - so who performs on stage,
when and where. However, I also play a role in
informing and delivering the messaging, brand
development and marketing and PR strategy and
activity. On top of that, I programme and drive
the festival’s award-winning talent development
programme, the LIMF Academy.
I derive inspiration from the artists and music
and my own experience and beliefs. To explain
better, I’m very artist-centric – I work with
artists closely and have done for years (see THE
PLAYMAKER GROUP) - so I always want to help
them articulate what they do in the best way. So
with LIMF - it’s about the selection and where
and how they are placed at the festival. I love that
challenge with the festival every year. It’s like a
jigsaw.
The artists and the music dictates so much of
that picture, alongside any statements we are
trying to make. Further, I have an overriding
belief that music is and should be a connector and
there’s more commonality than difference so I
try to gently make sure that comes through with
the programming every year. One of the biggest
compliments is that the festival is so diverse and
it brings people together from all walks of life to
enjoy music. That’s the biggest compliment to
me as a true lover of music and creativity and a
champion of true diversity and inclusion.
What is the health of the festival sector in the UK
currently? What is great and what is lacking?
The festival market - in my opinion - is healthy,
in terms of the sheer number of festivals. There
are a lot of festivals, catering to various musical
appetites. For audiences, this is great. For new
artists, there are many places you can perform.
In a time where so many things are digital,
these festivals are real-life places for people to be
entertained and connect with artists and music!
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