Findings of the report First Step: UK Music Industry Greenhouse Gas Emissions 2007 which identified that annual audience travel to music events accounts for 43% of greenhouse gas emissions from the UK music industry. Of this, music festivals contribute 24% of all music audience travel emissions, 68% of the festival sector’s total emissions.
After 18 months of exploration into the world of temporary power, the Green Festival Alliance (GFA) has created The Power Behind Festivals; a guide to sustainable power at outdoor events.
The annual Festival Awards conference was held on Monday 3rd December 2012 at the Roundhouse in Camden, London. Live Music Exchange was there and brings this report of what was learned about the UK’s festival industry this year.
Emma Webster’s look at two very different independent festivals in the south of England – with a breakdown of why one was more enjoyable and some thoughts on what makes for a good festival experience.
This article draws together critical tourism studies and events tourism literature offering insights into the diverse motivations for, and barriers to, attending the predominantly lesbian and separatist feminist festival, Michigan Womyn’s Music Festival.
Recognizing the potential for music festivals to contribute to host communities, this study aims to explore motivations for attending a large, multi-day music festival. Uses on-site interviews conducted at Celebrate Fairfax!, an annual music festival held in Virginia (USA).
This paper uses the Wireless Festival held in Leeds in 2008 to look at the different motivations of attendees across the two days where the programming was directed towards different music interests.
Report to Parliamentary group, compiled and presented by the business visits and events industry forum- provides data about the UK festival market and licensing.
Music festival season for young, inexperienced, and unsigned artists, can be a time spent anxiously waiting to see whether they are one of the chosen few selected to perform on the ‘unsigned stages’ that are present at most major festivals in the country.
Less well known than the much-touted exposure that they can bring an unsigned band is the introduction that they bring to the PRS whose collection of revenues from events like festivals is hotly disputed by promoters. Here, Matt Brennan discusses the implications and advantages for unsigned bands of a relationship with the agency.