Timing is everything when it comes to making key announcements about upcoming music festivals. In a market where festival organisers are competing for ticket sales revenue the timing of any key announcements can help maximise ticket sales revenue at the right time. What are the factors festival organisers need to consider about making announcements.
Music festivals can take around 18 months to organise from the start to the event dates and whilst organisers will be keen to make announcements as soon as possible there are some critical elements to the festival logistics that need to be finalised first. Consideration of these ensure that the right information is released in a timely manner and is not misleading in any way.
Planning and Investment.
It is essential to have secured the necessary funding and have this in place before any solid announcements can be made. Has the venue or site and proposed dates been agreed and approved by the necessary authorities? This is a critical step that needs to be finalised before almost anything else can happen, however, from the early planning stages there is nothing to prevent organisers from curating performance artists even if on a provisional basis. When the dates and venues site are approved it will be time to start considering parting with deposits for artists and suppliers to secure an initial line-up and logistics plans. Only once these tasks have been completed should organisers consider making an announcement about the forthcoming event just to highlight the venue, dates and initial line-up.
New Festivals.
A new music festival will have additional challenges because they will not have been able to retain profits from previous events. Their funding will be reliant on investors being prepared to make risky investments. There is temptation and great pressure to make premature announcements for new music festivals, however, organisers should ensure that they have covered the logistics planning noted above before making announcements.
Artist Line-up.
In the UK the traditional time for making announcements for artist's line-ups is generally December and January. Anyone monitoring music festival announcements will notice a flurry of media activity in December as organisers race to get their line-up announcements made before the Christmas break. Although this has become the norm there is a danger that any announcement can get lost in a sea of press coverage and some organisers prefer to make their announcements earlier in the year. Most festival organisers will opt for announcements that include as many signed acts as possible to demonstrate to potential festival-goers how much artistic content they will get. This type of announcement can gain more impact than making announcements about each individual act that signs up, the only exception to this would be the announcement of a well-known headliner act.
Ticket Availability.
Whilst it is tempting to start ticket sales as early in the process as possible the pricing of tickets will require careful planning. For this reason, most organisers make early announcements for pre-sale registration encouraging potential ticket buyers to sign up with the offer of obtaining discounted and early bird tickets. Analysis of pre-registrations can provide key data on potential tickets sales and assist in deciding on the exact pricing structure. It makes sense to make tickets sales availability announcements at the same time as the artist line-up.
For festival organisers planning their events using a software management platform like Festival Pro gives them all the functionality they need manage every aspect of their event logistics. The guys who are responsible for this software have been in the front line of event management for many years and the features are built from that experience and are performance artists themselves. The Festival Pro platform is easy to use and has comprehensive features with specific modules for managing artists, contractors, venues/stages, vendors, volunteers, sponsors, guestlists, ticketing, cashless payments and contactless ordering.
Photo by Markus Winkler from Pexels
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We had been consistently selling out a venue in Orlando that was around a 2,000 capacity room. To now have artists, more production, and activations at this show but sell fewer tickets than our R&B ONLY LIVE shows was an early indication that my plan to scale the business was not working out how I envisioned.
We had to coordinate with larger production companies for sound, lights, and visuals as the venue was just an open space where we had to bring all of that equipment in. We learned to work with vendors on everything from concessions to activations so that fans had an amazing experience outside of just the music on stage.
Another lesson learned from our first festival was how to book more well-known artists (Ashanti, Queen Naija, and YK Osiris played alongside our DJs/hosts in Orlando) and incorporate them into our existing format.
While there were ups and downs like any first time festival would expect, our team came out on the other side excited and eager to begin working on the next R&B ONLY FEST. We could have never imagined what was to come as we made the attempt to grow the festival in a stronger market and were introduced to the nightmare of festival billing, lineups, and set times.
Mix these two sides and you can have a recipe for disaster between a festival producer and an agent/manager (typically receiving anywhere from a 10%-20% commission on a booking) when trying to agree on a fair appearance fee.
We agreed to a lot of production requests from artists and the mistake of not hiring the right production team was one that cost us. This one wrong move sent us down a disastrous path, running into a litany of problems with the artists as well as our fans.
Our second attempt at R&B ONLY FEST in Atlanta started almost three hours late, had a dysfunctional video wall, and a lack of communication with our fans on what the problems at hand were. With the show running so far behind, I had to make the executive decision to cut all of our in-house R&B ONLY DJ sets or risk not having the time for all of the artists to perform their sets. Since their names had been plastered all over our festival artwork, the mere thought of one of them not actually performing was not an option. Also, the risk of not making curfew would have resulted in a $1,000 penalty for every minute the show ran over (the show ultimately ended an hour late but luckily this $60,000 fee got waived by the city later on). Shoutout to Live Nation and the great people that work at Lakewood Amphitheatre.
At the top of last year, we retooled our R&B ONLY LIVE marketing strategy (take a look at our Instagram, TikTok, and YouTube) and in the last half of 2022, our tour started to sell more tickets than ever before. We went into 2023 announcing 35 shows in Q1/Q2 and shortly after we needed to increase that show count to 47. For the first time in R&B ONLY history there was a demand to add multiple nights in many markets like St. Louis (four shows), New York City (three shows), and Atlanta (two shows) just to name a few.
This focus on further developing our own brand identity for R&B ONLY LIVE shows while finding product market fit allowed us to imagine the possibility of selling tickets to R&B ONLY FEST without announcing well-known talent. I had never heard of a music festival taking this approach so the thought of being an example of change in an industry where people continuously follow trends was enticing.
We went so deep with this concept that even the festival artwork itself had pictures and videos of our fans experiencing our previous shows instead of famous artist names. This was a subtle signal of how important our fans are to us.
Let's look at some of the options I've seen used to unveil your meticulously-crafted and unique snowflake bills. Watch a Facebook Live video of the names being painted on the side of a building? How about a webcam showing crop circles of a band's logo? Dial a hotline to find out performers? I can hardly be bothered to call my father to wish him a happy Father's Day every year. What makes you think I'm going to pick up the phone to find out what middlingly tepid British indie rock band is headlining Sunday evening? (It's alt-J, it's always alt-J.)
Please don't make me play an online game that asks for my middle name, birthday, email address, Facebook login, banking details, and a blood sacrifice to the Mayan bat god Camazotz. If I wanted to play puzzles, I'd pick up a book from the dollar store. They say time is money, and in this case, that money could be used towards saving for your $2,000 exclusive platinum package which includes your own cabana, air-conditioned bathrooms, open bar access (Budweiser, Goose Island, or Red Bull-based cocktails only), and one (1) vial of James Murphy's tears (I've heard that drinking them slows aging).
"Now Max, what do you have against fun?" I hear you ask, "Surely you have more important things to do than rail against how festival lineups get announced? Isn't Deadmau5 picking a beef with someone on Twitter that you could write about instead?" And you would be absolutely right on both counts. Complaining about corporate festivals is like that episode of The Simpsons when the newspaper runs a picture of Grandpa Simpson with the caption "OLD MAN YELLS AT CLOUD." It's ultimately pointless.
Look, I understand that simply posting a picture on Facebook or Twitter with a bunch of artists in varying font sizes won't get you as many sweet, sweet clicks, or help you amass valuable personal information to provide to sweet, sweet brands. But promoters, I implore of you, please, please, please just put them into one easy-to-copy-and-paste press release like the good Lord intended. I promise people will still pay gobs of their hard-earned cash to stand around in a dusty-ass parking lot or field with thousands of drunk, sweaty strangers watching the same 20 bands that play every summer festival. With the time you'll save brainstorming ideas, you'll be able to devote that energy to more important matters, like drug testing and harm reduction at your events. Besides, if prospective attendees want games, they can always generate fake Coachella lineup posters. 152ee80cbc
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