EUROPEAN FESTIVALS – ØYA
How relevant is that ethos today, particularly with younger audiences?
I think it’ s more relevant than ever. With AI, constant noise and very artificial online communities, younger audiences are actively looking for authenticity. They want something real. That’ s what Øya is all about, especially in programming; a strong, credible roster that people trust, even if they don’ t know every name.
“ WE NEED TO BUILD MORE RESILIENCE AGAINST ATTACKS ON SOLIDARITY AND DEMOCRATIC VALUES.”
The last year proved a challenging one for many festivals across Europe, particularly around political pressures, and public scrutiny. How has Øya navigated that?
Last year was rough. Values are under pressure everywhere, not just in festivals but all over Europe. We need to build more resilience against attacks on solidarity and democratic values. What matters is being clear about who you are and standing by that. Our audience understands our values, and that showed in strong ticket sales last year, and we are seeing great sales for this year. For our artists and attendees, Øya is a place where they can express themselves freely. The festival is like a small exhibition of what democracy is.
Do you think the industry is learning how to deal with backlashes and fastmoving criticism more effectively?
Festivals have always dealt with extreme pressure; we build temporary cities in days. This is another challenge we must adapt to. I think guidelines and best practice will be developed but we need to do something right now, so we’ re working with partners who are helping us better understand communication dynamics and how to respond clearly and constructively to emphasise our values.
You have worked in many roles on festivals, including rigging. How does that broad experience inform your leadership?
It’ s hugely valuable. I always start by spending time with the site crew because that tells you a lot about a festival. You only get one chance each year, and having experienced different roles helps you anticipate problems and make better decisions. It also keeps leadership grounded in operational reality.
Do you see your role as evolving the festival rather than changing it outright?
Absolutely. This is already a very successful festival with people who’ ve worked here for decades. I’ m not here to disrupt that. But there are processes we can fine tune, and creatively there’ s room to develop the experience further, particularly beyond a purely musicfocused presentation.
What does that look like in practice? Norwegian festivals are technically very strong across sound and lighting; the production quality is excellent. But visually, stages can be quite functional. I’ d like to see more art, stronger stage identities and a clearer sense of place, while remaining practical and sustainable.
How are changing attendance patterns affecting planning?
Single-day attendance is increasing, which creates financial risk if one day underperforms. That makes the overall programme even more important.
( Ole Christian Klamas)
If audiences engage with the full lineup, they’ re more likely to commit to multiday or full festival passes.
Cost pressures remain a major issue post-pandemic. Is that stabilising?
Costs can’ t continue rising the way they have. Production, staffing and artist fees have increased dramatically over the past five years. We’ re fortunate to have long-term supplier relationships, but profitability has been hit and we now need to increase revenue without further cost escalation.
How does sustainability fit into that commercial reality?
Sustainability isn’ t about big gestures anymore, it’ s about optimisation. Local sourcing, waste reduction, reuse systems, these save money and reduce impact. We’ re constantly tuning rather than reinventing, and that’ s where meaningful progress now happens.
Finally, what are you most looking forward to at this year’ s event?
Being on site just before doors open. Everything built in a week, everyone ready, and then watching the audience arrive. That moment, when the whole operation comes together, is still the most rewarding part of the job.
accessaa. co. uk 41