Located on the front lawn of the Irish Museum of Modern Art, just a short distance from the Guinness brewery, it comes as no shock that the initial batch of tickets for Dublin’s Forbidden Fruit festival were quickly snapped up.
The roster – a combination of experienced, fresh faces, and throwback performances – is just one of several festivals being revealed for the upcoming summer season. According to festival organizer Will Rolfe, “We’re excited to have Nelly Furtado, who hasn’t performed in Ireland in 24 years, as well as Bicep and Barry Can’t Swim, who belong to the ironic name trend that audiences adore.”
However, according to him, it has been quite challenging. The festival was able to secure 90% of their desired artists, but this is not common. The entertainment industry is currently facing a shortage of popular headlining acts. Many top artists are opting for individual tours instead of festivals due to the higher profitability.
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.
It is particularly challenging to secure U.S. performances. A number of American shows follow a “dynamic” ticketing system, meaning that prices fluctuate based on demand. As a result, ticket prices can be extremely high. For instance, tickets for Bruce Springsteen’s U.S. tour can cost several thousand dollars, while Taylor Swift’s can reach almost $900. While a top headliner at a festival in the UK may receive a fee of £2m or more, the financial expectations for U.S. performers are even higher.
There will always be some artists who are willing to perform for the sake of the show, like at Glastonbury, or who prioritize exposure over monetary compensation. According to Rolfe, some may earn less but still be content with their decision.
It is a concern that the UK may be losing its significance. Sacha Lord, who helps organize the Parklife festival and advises on the night-time economy in Greater Manchester, states that the UK is not currently an appealing option. When trying to book renowned international performers, there is tough competition from other countries.
According to Noah Ball, who programs for We Out Here festival in Dorset and Cross The Tracks in Brixton, securing headliners for next summer is more challenging compared to previous years. Event costs have increased by 30-40% in recent years, making it a riskier business. It is crucial for events to carefully select the line-up in order to be successful.
According to booking agent Claudio Lillo, touring has become more expensive for artists, even though they may be asking for higher fees. Lillo represents A$AP Rocky, Playboi Carti, Priya Ragu, and Ezra Collective and has noticed that festivals are claiming budget constraints while artists’ expenses continue to rise.
The level of stage production anticipated is increasing, including for popular performers like Lana Del Rey who incorporate more than just dancers and backup singers. This can include expenses for choreography, screens, filming, and rehearsal. For electronic artists, the use of lasers and lights is just the beginning. The cost of putting on a show can reach tens or even hundreds of thousands of dollars. At a recently built venue with a capacity of 15,000 in London, the total expenditure for talent and production can reach tens of millions.
Brexit has also made matters worse. In the past, playing in the UK would be part of a European tour. “You might do Brussels one night, Paris the next and then Manchester two nights later,” says Lord. But now no one can risk equipment being held at the border. “If that happens you’re going to lose your headliners. It’s caused major issues in the industry.” On top of this, being paid in sterling is “not great”, he says.
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According to Kelly Wood, who is in charge of organizing live performances for the Musicians’ Union, there has been a decrease in the number of acts being booked. This is due to the added time needed for travel checks, which discourages people from performing. As a result, promoters are focusing on local talent or finding ways to work together and offer joint opportunities to attract performers.
One contributing factor is that financially struggling local governments are renting out their parks and other outdoor areas for festivals, but there is a shortage of popular performers to fill the numerous events being held. Luke Huxham, the director of development and place for London’s and Drumsheds, predicts that next summer will be exceptionally competitive for festival bookings. “Many promoters are vying to secure the same artists.”
According to Sarah McBriar, the founder and creative director of Belfast’s AVA festival, which is celebrating its 10th year, there is still high demand for festival attendance and tickets sell out rapidly. However, the end of May weekend, when the festival takes place, now has competition from four or five other festivals occurring simultaneously.
Despite starting off as a behind-the-scenes pop producer, electronic artist Fred Again has quickly risen to headlining the Reading and Leeds festival within just a few years. However, for many artists, it can take years of touring to build a strong fanbase. Festival organizer Ball points out that this is because festivals tend to prioritize acts with a proven track record of selling tickets. As a result, there is often a mismatch between the number of artists who reach mainstream success and the limited number of festivals that can accommodate large audiences.
Lillo believes festival organizers are not being adventurous enough when choosing line-ups, as they often seem to feature similar artists. He argues that in order for new headliners to emerge, they need to be given the opportunity to shine.
Source: theguardian.com
