The amount of festivals taking place in the UK is growing each year. Some are unique and boutique festivals are popping up more and more. Festivals are created with its own vibe in mind and each has its own appeal.
Two such festivals are T in the Park and the Green Man Festival. T in the Park was a large festival in Scotland that catered for 250k visitors and 70k campers and it focussed on popular music. Green Man Festival on the other hand is a much smaller festival held in Wales and would be deemed what is known as a boutique festival. Boutique festivals target a different audience looking for a more relaxing time where the focus on quality music, location and good food. The Green Man festival is help with the Welsh country side and mountains as a backdrop.
T in the Park, promoted by DF Concerts was much more commercial and catered to a wider variety whereas TGM is an independent festival which has a much more ethical approach.
The different approaches led to attracting a different festival goer. Although a great deal of revenue was created from T in the Park it became much less about the music and more about a right of passage to some young people. This in turn led to irresponsible behaviour, drugs and crime.
TGM’s main focus is still the music and therefore a different festival goer who was looking to appreciate the experience and the quality of music. Festivals like TGM therefore focus on smaller crowds and the experience.
Festivals need to keep evolving like the TGM to accommodate real music lovers. The music industry has changed dramatically over the years. With technological advancements and a digital revolution which is constantly evolving brings new challenges to event organisers.
Festival goers are more sophisticated. With advanced technology music lovers don’t have to go as far to experience a great sound so a unique experience also needs to be an attraction.
Festivals are faced with more sophisticated tastes which means more expensive displays and sounds are expected. This will raise the ticket price affecting interest. Music lovers now look for the experience visually as well as sound. Light shows, videos, big screen, perfect sound, perfect location, accommodation, something more than a day trip that all the family can experience.
Health and Safety Regulations also dictate restrictions on festivals with regards to noise, crowd management, consideration of a much younger audience than music festivals in the past.
In my own experience and from friends who are music lovers like me I feel the heart of the festival has been lost at bigger festivals. I love the unique experience of getting up close to a band and having that close encounter. The pressure to play to a large audience means that the live band experience is lost to over production and commercialism. This is where Boutique festivals can still provide some intimacy. As our tastes continue to become more sophisticated new locations and new ideas will always be sought.
Reflective Practice is adopted to review an experience and reflect on how well things went. It provides an opportunity to consider if what went well and what we have learned.
In terms of a festival organiser they might consider how well their advertising campaign went and how quickly they sold tickets. For example, was there any health and safety issues and was there any injuries.
Did the emergency services have the right access, was the visual and sound experience good and what could have been better.
One-year T in the Park change location and this led to major traffic issues and serious concerns over young people’s safety as they had to walk along dark roads alone as their families and friends could not get close to the venue to pick them up and overall the atmosphere was not as good as previous experienced. On reflection the organisers would have been looking to ensure young people’s safety and better traffic measures. Somewhere along the line there would have been some form of breakdown of communication.
Communication and delegation would have been key in any one of these festivals. Communication during a festival is key. There are 3 key roles that are required to use communication and delegation to do their job, a sound engineer, stage manager & tour manager.
A sound engineer is critical to any performance. They are to controlling the sound that the audience hears as wells the sound the performers can hear on stage. Stage set up is integral and they play a key part in the set up and will advise best where to place the speakers, amps mics etc. It is their responsibility to ensure everything is working effectively and that everything suits the band. A sound engineer may have to adapt positioning or sound to suit the individual band. Live performances would not be possible without sound engineers and I have seen fantastic band’s sound terrible due to the poor work of a sound engineer so it’s important to get the best sound for the paying audience.
Sound engineers work with stage crew and other bands and musicians while at gigs and festivals. It is not the sound engineers job to move the equipment so he/she will have to delegate these tasks to stage crew to reposition equipment or do heavy lifting. Working with so many people in a busy and potentially hazardous environment communication is very important to make sure the instructions are clear and concise and the work is carried out promptly and safely to avoid holding up or having a negative impact on all the other performers and crew. Remaining professional when communicating is also very important.
A sound engineers job can be difficult due to environment he works in and often communication can sometimes be difficult because of noise or because the person they need to communicate with is not in the building. Sound engineers may sometimes have to use sign language such as thumbs up or use radio contact to communicate to other engineers. When planning the stage for sound these instructions may have to be given in writing in the form of a plan.
A stage manager manages everything to do with the live performance from the backstage to what happens on stage and during the performance. He will also ensure everything runs on time and also that there is no health and safety risk.
The role of the stage manager is completely dependent on communication and delegation. The stage manager will be aware of everyone’s roles and responsibilities and will be tasked with making sure that everything is carried out. Certain tasks will need to be communicated in writing especially ones related to health and safety regulations and others will need schedules and plans communicated to help everything run smoothly as well as having good verbal communication to handle almost anything. Delegation is key to getting the tasks completed on time to help the shows run safely and on schedule but the communication is two ways. He needs to be able to communicate effectively but will be relying on getting clear communication back from staff he’s dealing with.
The tour manager is responsible for making sure everything goes well for the band/performers he is managing. Tour managers will organize the tours and all the finance, accommodation travel and everything else that is needed to look after the artist.
Communication is key for a tour manager as he needs to understand the artists wishes as well as communicate and organize all other aspects of the tour including bookings, accommodation, venues, travel etc. The tour manager caters as much as possible to the artist’s needs. He will also need to delegate tasks to make sure the artists needs are all met to make sure everyone is ready for the performance including catering, travel, lighting, wardrobe etc.
Again, to make sure that all goes to plan the tour manager will need to make sure all communication is documented as evidence by email or in writing when bookings are made so communication in writing is required as well as verbal.
Music promotion companies are essential in the music industry and festivals are a prime place for promotional work to take place. A music promoter would publicise an upcoming music events or festival. The role of a promoter is much more varied than just publicity though.
The promoter works with the band or artist to plan for tours and gigs. He will negotiate fees for the artist/band and creates a contract which will include terms or agreement, promoter fees, band performance details, and any other business demands. The promoter will look after other practicalities such as ensuring the artists have all they need including sound checks, accommodation and travel.
The promoter will plan for the show, agreeing a date and picking a venue. Publicity will be done through emails advertising, social media, radio and television. Every effort is made to sell tickets for upcoming gigs with a view to making a profit.
DF Concerts & Events is a leading promoter responsible for major events such as T in the Park amongst others. DF Concerts is global. One aspect of DF Concert focus is Artist Management guiding the artists professional career and looks after the business interests of bands and performers. Concerts still remain another focus, managing some of the largest events in Scotland and globally including T in the Park. This has provided an excellent platform for them to expand in other areas including sponsorship and ticketing.
A major music festival will attract people from all over the music industry including music labels, producers, promotors, sound engineers, other bands and artists, songwriters, road crew. You can also tap in to the millions of fans on the festival’s social media sites.
Festivals are a unique opportunity to get all of the music industry major players in the one place to meet, network, build a friendship with and make contact face to face. This an opportunity to make that one key connection in the music industry and also gain more fans to help with recognition. Successful business networking is usually by fairly sociable people as well as good listeners. Being sociable and not just thrusting a business card will help find opportunities and make connections that may have been missed.
Focussing on how you might help someone else rather than on how they might help you will improve a relationship. Basically, a festival is a good place to integrate and mix with others socially in the industry and build bonds in the industry.
A demographic is a key consideration for promoters use when considering marketing strategy. A market demographic refers to the number and characteristics of a group of people, who live in a particular area in relation to their age, sex, social class, race, income and what they spend their money on. Promoters use demographics to reach a specific target market.
Festival goers are a much sought-after target demographic for sponsors. Big brands love that they have a captivated audience for a few days and will pay big money to sponsor festivals.
Festivals are big business. Music festivals are a favourite past-time of the Millennials who enjoy experiences rather than possessions. Promoters recognise that building a personal relationship with consumers is more effective than presenting flyers and adverts. Festival goers often spend a few days at the festivals and promoters and use this to provide services and unique experiences during their stay providing free gifts. Millennials are a favourite age range mostly because of the disposable income they have. Promoters often work.
Festivals are an ideal breeding ground for promotion and that means maximum exposure through access to the festivals social media audiences and the unique opportunity to have a captivated audience over two or 3 days. Festivals allow for additional networking and exposure. Festivals are a place where strong social bonds can develop and being social and influential is more effective in these environments than hounding a big name and thrusting your contact details their way.
Festivals are a great place to develop a fan base too and will fondly remember the band/artist as they will always associate the artist(s) with this unique and positive experience in their life.
A boutique festival generally targets a particular, smaller segment of the population. They tend to focus on quality and attract an older, more middle-class customer. This demographic tends to coincide with certain political views and musical genres such as classical, jazz or musical revivals although there are exceptions such as smaller pop up festivals.
For a start-up promoter there are many advantages and disadvantages to starting with a boutique a boutique festival. One advantage is you know who your audience are and are easier to identify but the disadvantage is that they may not be as easy to market to due to less social media activity depending on the musical genre and demographic that is being targeted. In general marketing for this type of festival is more likely to take place locally on flyers or some of the more upmarket papers. These festivals will target audiences that will appreciate the music, gourmet food and craft beers, fine wines and cocktails. Smaller festivals are also less likely to generate large sponsorship deals which is where a lot of the revenue can come from.
Due to the demographic although you know who the target market is it is less likely to attract hardcore festival goers and therefore things like location, the quality of the music and bands booked and associated things like accommodation, quality of food and other offers will affect the success of the festival.
The downfall for a start-up promoter setting up a new boutique festival is the amount of competition out there so if there happens to be a lot of festivals within 100-mile radius this will impact on the popularity. The secret will be to offer something no other festival has.
Scotland is popular for boutique festivals and would be a good place to focus on a start-up particularly during the tourist season where tourists come from all over the world to view the beautiful scenery. A music festival in Scotland can have an added attraction if amazing scenery is included to influence attendance. A castle, loch or mountain back drop will affect the ambience and is a great marketing ploy if used effectively. The Green Man is a very successful festival held in Wales and the stages look magnificent with the welsh countryside and the Brecon Beacon’s Black Mountains in the background.
Another strength of starting a boutique festival in Scotland is you don’t have to look very far to find artists, Scotland’s music scene is thriving and there is a wide variety of music to choose from including traditional, jazz, punk etc.
For a start-up boutique festival provide more opportunities, particularly in Scotland where the Scottish government are keen to support Scottish music. The smaller festivals are also less likely to attract the same level of drugs and crime that is often seen at larger more commercial festivals which attract a different demographic such as could be seen at Transmit or T-in the Park in previous years.
Boutique festivals are also less of a logistical and Health and Safety nightmare such as crowd management, traffic security etc. Local councils are also less likely to object to a smaller more easily controlled festival that is less likely to attract crime and drugs. Larger festivals like T-in the Park brought Scotland to a standstill with traffic issues and reports of rape, drugs, stabbings and other crime has not been the best publicity for festivals in Scotland, although these large festivals attracted amazing talent and bands from all over the world.
Boutique festivals, like large festivals are still at the mercy of the weather which is a major issue in Scotland as the weather is so unpredictable. One weakness is that smaller festivals are less likely to have the resources or money to manage any additional problems this could bring such as problems with flooding, electrics and equipment damage and other hazards. A cancellation would ultimately result in loss of revenue and attract a poor reputation.
Health and Safety can also be another consideration as it is particularly important in the live music industry and at festivals.
There is evidence that exposure to live music can cause hearing damage and employers are responsible for managing workers including freelancers risk of exposure to noise. Where noise is an issue then this must be managed effectively and where possible controlled, reduced and monitored. The controls are there to protect the audience as well as employees. Control of Noise at Work Regulations 2005 (Noise Regulations) was introduced in April 2008 for everyone working in the music and entertainment industry.
This new regulation recognised that music is a deliberate noise created for everyone’s pleasure and guidelines are required to protect workers and everyone in the music industry to protect their hearing and allow them to continue in their careers safely. Sound advice (http://www.hse.gov.uk/pubns/priced/hsg260.pdf) was put together by representatives in the British music industry as well as Environmental Health Officers and the Health and Safety Executive. There is practical advice in the Health and Safety guidance (HSG) on the control of noise in places like concerts and amplified music venues. The main objective is on preventing irreversible hearing damage and not the entertainment enjoyment. The duties of an event organiser are also to take reasonable steps to ensure the safety of crowds which should include:
a. Clear Roles and Responsibilities – for example stewarding could retain responsibility for the public safety. Care should be taken to make sure everyone understands their own responsibilities (http://www.hse.gov.uk/event-safety/crowd-management-roles.htm)
b. Working with others to ensure crowd safety – the event organiser should liaise with external bodies and organisations such as police and emergency services. (http://www.hse.gov.uk/event-safety/crowd-management-work-with-others.htm)
c. Planning for Incidents and emergencies – consider key risks such as fire or bad weather, share plans, develop an emergency plan such as stopping the show, have emergency roles and responsibilities, an evacuation plan, etc (http://www.hse.gov.uk/event-safety/incidents-and-emergencies.htm)
d. Assessment of risks and identifying hazards – for example reasonable steps should be taken to reduce risks and proportionate measures taken. Consideration should be given to risks associated with arrivals and exits, behaviour and crowd movement. Also consider young people and people with disabilities when deciding actions to take place. (http://www.hse.gov.uk/event-safety/crowd-management-assess.htm)
e. Have crowd controls in place- ensure safe site access and minimise traffic as well as pedestrian and transport disruption. Consideration should be given to 3 main phases of the event such as arrival and entry access and routes, venue circulation and facilities, exit routes and gate widths. (http://www.hse.gov.uk/event-safety/crowd-management-controls.htm)
Risk assessment is particularly important for noise festival organisers should carry out a Risk assessment for noise so that they can also:
I. Determine the noise sources such as Stage PA systems, Instruments and traders sound systems
II. Identify who is likely to be at risk, including musicians, performers, technical staff and others such as ushers, security, and catering staff, contractors, concessions etc
III. Identify employees who are at particular risk and need to be provided with health surveillance
IV. Reduce the noise exposure risk
V. Provide hearing protection if the noise exposure cannot be reduced by other methods.
VI. Make sure legal limits of noise is not exceeded. The HSE website (www.hse.gov.uk/noise/calculator.htm) helps calculate noise exposure based on levels and durations.
VII. For temporary festivals risk control measures should be assumed. The stage area, pit area, front of house control position and locations adjacent to delay and in fill speakers are hearing protection zones.
Some Key factors also to be considered in a Risk Assessment for a venue, are:
i. To identify the hazards such as electricity (making sure all equipment used is safe), noise, lasers, smoke and fogs, fire hazards, heights, slips and trips etc.
ii. Who is likely to be at risk such as musicians, technical staff and others such as ushers, security, catering staff, contractors, members of the public and customers
iii. Evaluate risk and decide how likely it is that harm will occur
iv. A record of significant findings should be made based on wat the hazard is and what controls are in place.
v. A risk assessment should be reviewed whenever there is a change or a problem occurs. (www.hse.gov.uk/pubns/indg163.htm)
2018-6-1-1527873229