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I the Adoption of Sustainable Marketing Practices Within the UK Music Festivals Sector Neil Andrew Richardson Submitted in Accor

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I the Adoption of Sustainable Marketing Practices Within the UK Music Festivals Sector Neil Andrew Richardson Submitted in Accor The adoption of sustainable marketing practices within the UK music festivals sector Neil Andrew Richardson Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Earth and Environment Sustainability Research Institute December 2015 i Word count 98,349 The candidate confirms that the work submitted is his own, except where work which has formed part of jointly authored publications has been included. The contribution of the candidate and the other authors to this work has been explicitly indicated below. The candidate confirms that appropriate credit has been given within the thesis where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement © 2015 The University of Leeds and Neil Andrew Richardson The right of Neil Andrew Richardson to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Publications Parts of this thesis have been published in the following practitioner text Richardson, N., James, J. & Kelley, N. (2015) Customer-centric marketing: Supporting sustainability in the digital age. Kogan Page: London Chapters in thesis drawing on joint publication – Ch1, Ch2, Ch 6 Chapters in joint publication directly and solely attributable to Neil Richardson Ch.1, Ch. 2 (pp22-23), Ch.3, Ch.4, Ch.5 (pp39-44), Ch.6, Ch.7, Ch.9, Ch.11, Ch.12, Ch.13, Ch.14, Ch.15, Ch.16, Ch.17 (pp167-168), Ch.18, Ch.20, Ch.21 ii Acknowledgements This research project would not have been possible without my Director of Studies Professor William Young and supervisor Dr Ralf Barkemeyer whose collective knowledge, critique and guidance were invaluable throughout. Furthermore meeting the good people who attended the CRR Conferences genuinely helped me to see ‘business’ through a different lens. I would like to acknowledge and express my gratitude to my colleagues at Leeds Business School who shared (willingly or otherwise) my PhD ‘journey’ especially those in the Marketing Subject Group. Leeds Business School should also be thanked for financing most of my studies. I am very grateful to the festival organisers who offered their help and assistance and very graciously let me interview key stakeholders and most importantly their customers. Considering the hedonistic reputation of music festivals the respondents were unfailingly polite and willing to help often under extreme time-pressures. This started with the Association of Festival Organisers who provided introductions and whose support undoubtedly opened doors. I hope my findings will be useful to them. As a man of some years with a family and a heavy teaching load, the PhD process has been demanding however worthwhile. I have the good fortune of having had a 20-year career in the private sector working with (and for) genuinely world-class organisations. As Universities increasingly recruit younger people with PhDs but little industrial experience I suspect academics like myself will become increasingly rare. Whilst this is sad, if anything it increases my appreciation of how fortunate I’ve been. This reminds me of the closing chapter of Ulysses “Tho much is taken much abides; And tho We are not now that strength which in old days Moved earth and heaven, that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield”. (Ulysses - Alfred Lord Tennyson) Finally it would be remiss to finish this acknowledgments page without a reference to music, which ultimately provided the muse for this study “Being an island Shying from trying Seems the easy way Such an easy way But there's no future Without tears Love is the reason Faith or treason Playing a part End concealing Try revealing Open your heart But if you can stand the test You know your worst is better than their best” (Open your heart- Human League) Seems quite appropriate. iii Abstract This research investigates the efficacy of communications in matters germane to sustainable practices within the UK independent music festival sector. To do this the study identifies Triple-Bottom-Line based sustainability and/or marketing practices adopted by stakeholders and how they (and consumers) perceive related communications. The ‘sector’ is complex, fast changing, a major contributor to the UK creative economy and is forecast to grow. It is typical of the creative economy where a small number of large firms counterbalances a large number of essentially local, micro-enterprises. Largely independent, these smaller festivals comprise a variety of multi-stakeholder businesses with differing aims and objectives. Micro-enterprises have different characteristics (to larger companies), which dictate their marketing approaches. However sustainability studies often focus on larger manufacturers, which mirrors how most extant approaches to marketing were developed i.e. from experiences in larger companies. Stakeholders must align their values with changing consumer behaviour (e.g. increasing ethical and environmental spending patterns). Festival organisers must communicate with a diverse range of stakeholders and this case study investigates perceptions and attitudes germane to the communication of sustainable practices. Festivals are unlike other events or services as they are based almost entirely upon high degrees of consumer engagement often in areas of outstanding natural beauty. Despite this scholars have largely ignored them. Festivals are temporary townships, generally transitory, occurring infrequently and limited in time. Governments regard them positively owing to the economic sustainability generated, their ability to generate a sense of collective responsibility and encouraging community involvement. Many researchers apply functional ‘silo-based approaches’ to events. The customer- centric disciplines have largely failed to embrace sustainability. This study is inter- disciplinary being located in the overlap between sustainability and customer centric disciplines. Sustainable Marketing (SM) is gaining credence and increasingly adopted by progressive marketers. This research identifies recognised marketing and sustainability practices adopted by those micro-enterprises who ‘deliver’ festivals. Festivals operate in an increasingly competitive environment hence the implementation of effective marketing approaches is a priority. This study provides insights into marketing communications (‘marcomms’) and positioning that will prove useful for practitioners and academics. Few studies of the adoption of sustainability within services or arts exist. This study seeks to address this, contributing to the growing area of research into sustainability within the services and leisure economy. Semi-structured interviews were carried out with 19 stakeholders representing enterprises delivering 7 independent music festivals in the 2014 festival season. Parallel to this 119 festivalgoers were surveyed which enabled triangulation and provided useful insights. iv CONTENTS Page Chapter 1 INTRODUCTION 1.1 RATIONALE 1 1.2 INTER-DISCIPLINARY NATURE OF SM 3 1.2.1 Sustainable Development (SD) 4 1.2.1i Corporate Social Responsibility (CSR) 5 1.2.1ii The greening of festivals 6 1.2.2 Marketing 6 1.2.2i Services Marketing 7 1.3 RESEARCH CONTEXT 8 1.3.1 Sustainability and festivals 8 1.3.2 Stakeholder perceptions of adoption of sustainability 9 1.3.3 The Sustainability Perception Continuum 9 1.4 RESEARCH SCOPE 10 1.4.1 The UK Independent Music Festival Sector 10 1.4.2 Benchmarking SM 12 1.4.3 Barriers to the adoption of SM practices 12 1.5 RESEARCH AIM, QUESTIONS AND OBJECTIVES 12 1.6 METHODOLOGICAL CONSIDERATIONS 15 1.6.1 Ethics 16 1.6.2 Limitations 16 1.7 SUMMARY 17 Chapter 2 SYSTEMATIC LITERATURE REVIEW 2.0 INTRODUCTION 18 2.1 SUSTAINABILITY – OVERVIEW 18 2.1.1 Sustainability pre Triple Bottom Line - An Historical Perspective 19 2.1.2 Friedman versus Freeman 21 2.1.3 Sustainability ….definition 24 2.1.4 Sustainable Development (SD) 27 2.2 SUSTAINABILITY – PEOPLE – THE SOCIAL FOCUS 28 2.2.1 Stakeholder theory 28 2.2.2 Norms 31 2.2.3 Community 32 2.2.4 Corporate Social Responsibility (CSR) 34 2.2.5 Arguments against CSR 36 2.2.6 CSR Conclusion 38 2.3 SUSTAINABILITY - PLANET- THE ECOLOGICAL FOCUS 38 2.3.1 Consumer (demand) perspective 39 2.3.2 Organisational (supply) perspective 42 2.4 SUSTAINABILITY – PROFIT – THE ECONOMIC FOCUS 44 2.4.1 The Marketing domain 44 2.4.2 Services Marketing 47 2.4.3 Servicescape 48 2.4.4 Social and Societal Marketing 49 2.4.5 Green Marketing 51 2.4.6 Sustainable Marketing (SM) 52 2.4.7 Benchmarking 55 2.4.8 Value, values and meaning 60 2.4.9 Co-creation of value 64 2.4.10 Communication 66 2.4.11 Consumer Decision Making 68 v 2.4.11i Information search 71 2.4.11ii Heuristics 71 2.4.11iii Situational Influences 73 2.4.11iv Group Influences 74 2.4.11v Individual Influences – Motivation 74 2.4.11vi Issues not reflected in DMP 75 2.5 SUMMARY 76 Chapter 3 SCOPE OF THE RESEARCH 3.0 INTRODUCTION 77 3.1 FESTIVALS 77 3.2 CREATIVITY 79 3.2.1 Creative Economy 79 3.2.2 Creative Industries 80 3.3 FESTIVALS AS EVENTS 82 3.3.1 Tourism 83 3.4 UK MUSIC FESTIVAL SECTOR 84 3.4.1 Festival typology 85 3.4.2 Festival size 87 3.4.3 Festival boundaries 89 3.4.4 Festival pricing 89 3.4.5 Festival genre 90 3.4.6 Festival periodicity 90 3.5 FESTIVAL STAKEHOLDERS 92 3.5.1 Organisers 93 3.5.2 Community
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