Author: Nod Knowles
Organisation/Affiliation: Nod Knowles Productions
At the outset of this set of general reflections on music festivals, I should at once declare that I am neither a historian, nor an academic nor a cultural theorist. I am a long‐time arts worker, much of whose professional life has been spent in and around live music promotion – and a lot of that time has been around live music festivals. So my comments here are simply a few notions that have occurred to me as a result of my experience running or engaging with festivals – and predominantly festivals that are within, or are supported by, the public or not‐for‐profit sector.