#bluesfest

When was the last time that you considered a sector that brings $5.7B AUD in a single year (2023) into a country's economy a sector that was at risk? Never? That seems like a logical answer. And yet, that is exactly what the case has been for the Australian festival scene over the last few years.

Over the last twelve months alone, the Australian Broadcasting Corporation has released over thirty stories regarding the declining state of Australia's festival scene. A large majority of these stories surrounded the indefinite cancellations of over a dozen festivals; many of which were the biggest in the country annually. I am currently writing this during the final ever Bluesfest; arguably Australia's most well known festival of all time. Much like other big (and smaller) named festivals including Groovin The Moo and Splendor In The Grass, Bluesfest has unwillingly closed its doors metaphorically due to the cost-of-living crisis. Similarly, in their statement of cancellation, Good Life festival stated that rising costs had also caused their end:

"Our mission has always been to provide an affordable, drug- and alcohol-free event where young people can safely immerse themselves in live music and entertainment, fostering real connections in an increasingly digital world." They said.

Unfortunately, this struggle has become commonplace. A report conducted by Creative Australia last year noted that forty four percent of Australian festivals were not profitable over 2022 and 2023. In exploring why, it is clear that increasing ticket prices caused by increasing costs of artists, insurance (driven in large part by environmental factors including climate change) and policing were leading factors in reduced ticket sales. Multiple venue operators have noted that the costs of public liability insurance alone has quadrupled since the lifting of restrictions “post” Covid-19 and overall costs of thirty to forty percent. Additionally, many artists have begun requiring their full fee upfront. Though this may seem selfish or extreme to some, now is a good time for the reminder that a study conducted in 2024 found that only fourteen percent of Australian musicians make Australia's minimum wage or more from all of their music endeavours and twenty four percent make $500AUD or less. These costs are also impacting international musicians and their ability to tour here; whether that be for their own tours or festivals. In an email to her fans in 2022, Aotearoan singer Lorde stated the following;

“To freight a stage set across the world can cost up to three times the pre-pandemic price right now. I don’t know shit about money, but I know enough to understand that no industry has a profit margin that high. Ticket prices would have to increase to start accommodating even a little of this, but absolutely no one wants to charge their harried and extremely-compassionate-and-flexible audience any more fucking money. Nearly every tour has been besieged with cancellations and postponements and promises and letdowns, and audiences have shown such understanding and such faith, that between that and the post-COVID wariness about getting out there at all, scaring people away by charging the true cost ain’t an option … I’m lucky. But for pretty much every artist selling less tickets than I am, touring has become a demented struggle to break even or face debt. For some, touring is completely out of the question, even if they were to sell the whole thing out! … I wanted to put all of this in your minds to illustrate that nothing’s simple when it comes to touring at the moment, and if your faves are confusing you with their erratic moves, some of this could be playing a part.”

This rise in these costs have led to Australia's festival scenes being unable to afford many international stars that would often to higher ticket sales. It has also created an environment where, instead of coinciding with them, Australian festivals are now in direct competition with performances from international musicians. And though Australia is often lumped in with the United States of America and England as countries that always have international musicians touring here, that is not fully true. As just a few examples, despite having dominated our charts for close to their whole careers, the week that I am writing this, the sale for Lady Gaga's first Australian tour in eleven years happened and Beyonce has not come in twelve years and has no Australian dates announced for her Cowboy Carter tour either at this stage. Australia is also often the last stop that international artists come to and as such are the most likely shows to be cancelled. So while I acknowledge that we are very lucky and privileged to have what we have in comparisons to other countries, all of the above factors do not bode well for our music scene as a whole.

This storm of circumstances has also changed the way those aged eighteen to twenty four approach touring. In decades past, this age group was known as the target age group for all music events. But between being hit hardest by Covid and the current cost-of-living crisis, festivals are finding that that is no longer the case. Instead, it has been noted that not only are people of this age group going out less in general “post” Covid, but those who do attend live music events are choosing to save up and spend more for international acts' solo concerts as they see it as better value for money. This is particularly the case given travel costs. It is also speculated that many of them see international acts as a “safer” bet given how many festivals have been cancelled, especially within the week that they were meant to happen.

Australian musicians have acknowledged this change, with many pleading Australians to support our local industry. When questioned, Australian artist Tones and I noted the further implications of the fall of the Australian festival industry;

“I think that it’s important now more than ever to buy tickets to your favourite bands, go to live shows, go to festivals, even if you just love the atmosphere, because these guys aren’t coming back. Some of these festivals can’t and they need that support … I understand that everyone gets so excited when overseas artists come over, and that’s really exciting, but soon we’re really not gonna have any festivals left, which is not only gonna deter overseas acts from coming over, but it’s really gonna hinder the up and coming Australian live music scene”

Many have also noted further impacts on the economy as a whole. As previously mentioned, in 2023 alone, the Australian festival scene brought $5.7B AUD into the Australian economy. Many adjacent businesses including hospitality and accommodation venues noted that, especially in small towns, the population doubled or more during the periods of festivals. Politically, Greens senator Sarah Hanson-Young also had the following to say on the matter;

“Arts and music is such an important part of what makes life great. It also is an important part of our economy … Thousand of people because of today’s decision to cancel Splendour In The Grass will be out of work. Thousands of people will be scratching around thinking how they’re going to pay their bills as artists who are involved in this festival, or hospitality workers who keep the festival going … The festivals and the musicians were these for us during the bushfires, they were there during the floods, they copped the brunt during Covid, and it’s time we gave them a hand now.”

But what does 'a hand' look like? Is it legislative change? Is it money? Should that money be going to the artists, venues, festival holders or customers? Well as you can imagine, it is all of the above.

Earlier this year, Australia held a parliament inquiry into the live music sector within the country. As part of its recommendations, a mixture of abolition of policing costs and tax offsets for festival runners plus vouchers for eighteen to twenty four year festival goers (in line with many countries throughout Europe) was suggested.

It was also noted that festivals within the Northern Territory have continued to do well due in large part to having substantial state government funding. Though the New South Wales state government offered a two year emergency funding amount to certain festivals, in speaking to media about Bluesfest, the event's founder and executive chairman Peter Nobel noted that it was not enough;

"We're not looking for a handout, we're looking for a hand up as our industry grapples with the cost-of-living crisis and other challenges." He said.

Another floating around include having a small levy for concertgoers seeing international artists that would go back into the Australian industry. This would be the equivalent of a few dollars maximum and put Australia in line with the United Kingdom that has a similar scheme.

Likewise, Australian artists have called for international musicians to have Australian openers for their shows. When interviewed, Australian band Angus and Julia Stone asked for international artists including Taylor Swift to have Australian openers while in Australia. Before the Swifties jump me for mentioning her name, I will note that I am aware that with the exception of Eras (where Sabrina Carpenter was our opener), every single Australian tour Taylor has done from her RED tour (2013) to now either had an Australian (Guy Sebastian for RED, Vance Joy for 1989) or an Aotearoan (Broods for Reputation) opener for her, with Vance Joy being her opener for nearly every single show of her 1989 tour internationally too. To add to this call, the Association of Artist Managers have voiced a wish for either the promoters or government to create and enforce “Michael's Rule”. In short, this rule/law would make it mandatory for all international musicians to have an Australian opener at their Australian shows.

Though this change is necessary, there is some hope for festivals though. Tour manger Jimmy Foster still believes that despite younger generations leaning towards international tours with bigger productions, there is a future for more “exclusive”, intimate and unique experiences. This success has been seen in the rise of attendance of council and local based music events and festivals such as the Meredith Music festival. When questioned about their success, researchers, event holders and concertgoers noted that the low to no cost of council and local events and the diversity and freedom to bring your own drinks and food to the Meredith Music festival played a large role. This further shows the need and impact of government financial support both to the events and concertgoers.

While many may believe that music is not a necessity, the risk of losing our festival scene could be irreparable. I have already spoken about the clear cut economic loses both directly and indirectly, but it goes beyond that. When interviewed about the current environment of the Australian music industry, researcher Diana Tolmie had the following to say;

“My very recent research data also acknowledges that increasingly, musicians are exiting the profession owing to unsustainable financial and workplace experiences. This age group is becoming exponentially younger, and is two-thirds female”

Additionally, a thriving live music scene has been shown to be good for mental and physical health. Of course this is the case for artists and their crews, but is also true for the everyday person attending these events. Taking this a step further, places like Kununurra (a town with one of the highest domestic violence rates in the country) have incorporated family festivals to attempt to lower domestic violence by having it be alcohol-free and create positive social environments.

Music

On September 29 we all showed up at the Craighead Forest Bandshell for Blues Fest and there was no electricity. Fortunately, I had my JBL Eon One Compact to use with Bebop Beatniks and it has batteries.

We ran the whole day one that amp. After Bebop Beatniks we heard The Spencer Brothers and Doug Butler. All the performances were great. I'm already playing some of the songs on Something Blue.

Gaming

I wrote a TTRPG called The Dragon's Egg.

At noon today I'm going to Library Game Day at the Jonesboro Public Library, which is hosted every month by NEA Gamers Guild. I'm going to play some RPGs and I may get to play test The Dragon's Egg.

I wrote a program called Embedding Mastodon Threads that makes it easy to embed a conversation on Mastodon in your blog or website. I had some help. I want to thank.

@[email protected] @[email protected] @[email protected] @[email protected]

These are their Mastodon addresses. They helped me, on Mastodon, to write an addon program for Mastodon. I write about the whole experience here.

More here.

Cory Henry at the Delta Stage, Bluesfest Byron Bay, 17 April 2022

My favourite act at Bluesfest Byron Bay 2022. It’s unusual for working photographers to stop shooting and applaud, but they did for Cory Henry. I caught the trio three times and watched their final set from beginning to end. Funky, jazzy, soulful. Cory’s interplay with drummer TaRon Lockett was breath-taking. Superbly crafted entertainment. 

Cory Henry, keyboards

TaRon Lockett, drums

Sharay Reed, bass

© 2022 Steve Ford

www.bluesfest.com.au

Dreams do come true!

The Raconteurs ... 🖤