Access All Areas May 2019 | Page 5

MAY | WELCOME Colophon EDITOR Tom Hall CONTRIBUTORS Martin Fullard JUNIOR NEWS REPORTER Stuart Wood SALES DIRECTOR SENIOR DESIGNER James Linin Sean Wyatt-Livesley PRODUCTION MANAGER PRODUCTION ASSISTANT Elizabeth Nixon Lana-Mae Taylor SUBSCRIPTIONS EXECUTIVE PUBLISHING DIRECTOR Matthew Williams Duncan Siegle PUBLISHED BY MASH MEDIA GROUP Second Floor, Applemarket House, 17 Union Street, Kingston Upon Thames KT1 1RR. Tel: +44 (0)20 8481 11 22 SUBSCRIPTION: Free to qualified readers within UK, Non-qualified readers within UK - £50, Readers in Europe/Eire - £70, Worldwide - £105. SUBSCRIPTION ENQUIRIES: Tel: 020 8481 11 28. Address: Access All Areas, Second Floor, Applemarket House, 17 Union Street, Kingston-upon-Thames KT1 1RR. The opinions expressed by contributors to this publication are not always a reflection of the opinions or the policy of the publishers. Information on services or products contained within editorial sections does not imply recommendation by Access All Areas. No part of this publication can be reproduced in any form without written authority of Mash Media. Subscribe on www.accessaa.co.uk “I wish it was the 60s,” Radiohead’s Thom Yorke opined ironically on 1995’s The Bends, later regretting that the lyric was taken literally: “Levis may wish it was, but I certainly fucking don’t.” The cultural climate that bought us race riots and the Vietnam War stimulated some vintage tunes (not to mention denim sales), even if looking back lovingly requires barely translucent rose-tinted glasses. Regardless, the live longevity of the Stones, Dylan, Young et al is undeniable, and in 2019, according to Audiencenet research, Classic Rock is streamed more frequently than modern rock or pop. We still enjoy the musical fruits of an earlier generation’s rebellion, but also the rewards of a music industry that nurtured creative freedom – birthing the records that still fill the Main Stage today. Our privileging of 1960/70s sounds, much like mid-1700s Baroque, is understandable, but leaves festivals in a quandary, personified when an organiser whips out a calculator to see if Fleetwood Mac will come in on budget. Hint: they probably won’t. While pirating tanked music revenue from $20bn to $7bn between 1999 and 2015, live music is generating more wonga than ever. Yet, far fewer headliners are emerging to replace Fleetwood and co. Could arduous touring schedules, uncertain business models and a lack of investment in emerging artists be leading today’s mainstream music to a creative full stop? And will this eventually hit the events industry in the wallet? We have acts that will fill today’s arenas for a week, but will they fill our hearts, minds and Main Stages for a generation? (p28). Tom Hall, Editor Keep up to date by visiting: accessaa.co.uk @access_aa @access_aa 05