SEPTEMBER | COVER FEATURE
Are festival and music monopolies a
threat, and what can or should be done?
Words: Tom Hall
After the recent demise
of Port Eliot Festival, an independent
festival with a rich history and valuable
community ethos, Access learnt from
its organisers (p28) that large pockets
would’ve been needed to ensure its
continued success. Organisers said,
however, that the event could one day
return, should the right investors get
on board.
So often, it’s the same major players
that buy up festivals. Live Nation, AEG,
and Superstruct are the common
names – the latter recently snapping
up Global’s summer events portfolio
(including South West Four, Field
Day, Boardmasters and ’80s festival
Rewind) as Broadwick undertook a
buyback of its events (Field Day, Festival
No. 6 and Snowbombing, as well as
Broadwick Venues), previously owned
by Superstruct.
Sometimes, however, the only viable
route to continuing a festival is by
selling – or as some might say “selling
out” – to a large conglomerate. While
the event may change its beloved
format or alienate its passionate user
base, a strong argument can be made
that this new money will ensure the
event – and the many businesses and
workers that thrive from it – continue
to.
And besides, a given festival’s value to
a consumer is subjective, and no one is
forcing them to attend an event. If the
new format is unpalatable, if prices are
raised, or if the event’s quality drops,
then the consumer will simply take
their business elsewhere, right?
Well, there’s more to a consumer’s
apparent ‘revealed preference’ – shown
when they choose to spend their hard-
earnt money on festivals run by the big
players, according to many including
the Association of Independent
Festivals (AIF). In a market where the
big players control venues, ticketing,
promoters and artists, have a voice
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