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Music Festivals in Sweden - an Analysis of the Ten Largest Commercial Festivals 2000 - 2013

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Music Festivals in Sweden - an Analysis of the Ten Largest Commercial Festivals 2000 - 2013 Music Festivals in Sweden - An Analysis of the Ten Largest Commercial Festivals 2000 - 2013 Daniel Johansson Linnaeus University, Sweden Department of Computer Science & Department of Economics [email protected] Abstract This study examines the development for commercial music festivals in Sweden during the time period 2000 - 2013. Although it is clear that some legendary Swedish music festivals have disappeared during the latest years, this study indicates that the number of paying visitors of the largest festivals continues to increase. In fact, 2013 was the record year during the studied time frame regarding the number of paying visitors to the ten largest commercial festivals, with official visitor figures validated through STIM data. Nevertheless, the Swedish music festival market has changed considerably. The purpose of the paper is to describe some of these changes as well as provide a quantitative foundation for further research questions to be dealt with in the future. 1. Introduction In 2013, the term "festivaldöden" (festival death) was widely used in Swedish media to describe the development of the Swedish music festival market.1 Both the Siesta! festival in Hässleholm and the Peace & Love festival in Borlänge were forced to cancel their programs during 2013, and Tivolirock in Kristianstad as well as Sundsvalls Gatufest filed for bankruptcy after conducted festivals. In 2011 the legendary Arvika festival went bankrupt. In 2010, the mother of all Swedish music festivals, the Hultsfred festival, had to shut down although the festival reappeared in 2011 by another arranger, just to be declared dead in the end of 2013. During the latest years many other music festivals have witnessed on tough economic situations as a result of the changing market for music festivals in Sweden. 1 See f.e. articles (in Swedish): Festivaldöden kom över Ålands hav (Nya Åland, 08/07/2013), Festivaldöden har nått Holmsjö (Karlskronakanalen, 30/05/2013), Sweden Rockabilly trotsar festivaldöden (Skövde Nyheter 10/06/2013), Festivaldöden rår inte på Dreamhack (Jnytt, 16/06/2013), Festivaldöden har inte kommit hit (Östra Göinge, Kristianstadsbladet, 02/09/2013), Festivaldöden kan bli en seglivad historia (Dagens Media 28/05/2013), Storsjöyran kämpar mot festivaldöden (Dagens Nyheter, 23/07/2013), Festivaldöden slår till igen (Katrineholmskuriren, 28/05/2013), Här är festivaldödens senaste offer (Nyheter 24, 17/07/2013), Festivaldöden orsakas av dåligt affärsmannaskap (Driva-Eget.se, 28/05/2013), Festivaldöden skördar ytterligare offer (Gaffa, 17/06/2013), Festivaldöden är de trötta rockgubbarnas fel (SVT Debatt, 18/06/2013), Vaccin mot festivaldöden (Press Release ETOUR, 17/12/2013). 1 Hence, it seems valid to talk about a festival "death", simply because many festivals have disappeared. At the same time though, new festivals have started, replacing the old ones. Way Out West started in 2007, Getaway started in 2011, Stockholm Music & Arts in 2012, Summerburst in 2012 and the Bråvalla festival in 2013. The question is whether these new festivals weighs up to the older festivals, and most of all, if Swedish music fans are still interested in visiting music festivals? Also, are there any trends to be seen when analyzing visitor statistics for a longer period of time, trends that might give us a perspective on how the future music festival market in Sweden might look like? The Swedish music festival market has been in a state of flux since 2008/2009, if compared to the situation during the fifteen preceding years. The Hultsfred festival was the dominating festival for many years and for a long time no other music festival could compete with Hultsfred regarding the amount of paying visitors. But since the year 2005, something happened to the market. Although Hultsfred set the, up until then, official record for the amount of visitors with 31 800 visitors in the year 2005, other festivals, such as Sweden Rock, Arvika Festival and Peace & Love could see a continuous increase of visitors at the same time. When Hultsfred had to cancel the festival in 2010, the music festival market in Sweden had changed drastically after just a few years. Today, a middle sized music festival (among the top ten) in Sweden has the same amount of paying visitors as Hultsfred had in the years 2000 - 2004, when it was solely dominating the market. The largest festivals in Sweden has become much larger during the latest years and when Peace & Love crossed the 50 000 visitor mark in 2011, one could argue that Sweden entered a new music festival paradigm, which will be explained later on in the report. There is no question that Sweden has a vibrant music life, not only considering the festival market. For a long time Sweden has been one of the largest music export per capita nation in the world and during the latest years the country has become well known for entrepreneurship related to digitized music. The live scene is in general dynamic, with venues and clubs in most cities. Although the live scene has had its ups and downs over the years, mostly related to specific venues having to close, the overall description is that live music, festivals included, is a natural ingredient in the life of Swedes, regardless of age and gender. Some of the festivals that have been analyzed on a yearly basis are: Arvikafestivalen, Augustibuller, Bergslagsrocken, Bråvalla Festival, Emmabodafestivalen, Getaway Festival, Hultsfredsfestivalen, Karlskoga Stranddagar, Kirunafestivalen, Kristianstadsdagarna, Luleåkalaset, Malmöfestivalen, Metaltown, Musik vid Siljan, Peace & Love, Pier Pressure, Piteå Dansar och Ler, Popaganda, Rockstad Falun, Siesta!, Sonisphere, Stockholm JaZZ Festival, Stockholm Music & Arts, Stockholm Pride, Storsjöyran, Summerburst, Sundsvalls Gatufest, Sweden Rock, Tivolirock, Trästockfestivalen, Umeå Open, Urkult Musik & Kulturfestival, Way Out West, West Coast Riot and Where the Action Is. In addition to these festivals, other festivals have also been analyzed, earlier festivals such as Lollipop and Stockholm Water Festival, as well as other smaller festivals conducted during the studied time period. These are not a core part of the study though, rather complementary for understanding the changes in the festival market as a whole. 2 1.1 Definitions and Delimitations A number of terms and expressions are used throughout the paper that need explanation. I have chosen to focus on data and statistics for music festivals that sell entrance tickets to visitors. I call these festivals commercial festivals. Festivals that are totally free to the visitors is not a main part of the study, although a few have been included when these festivals have had an important impact on the festival market as a whole during the specific year. For each year, the ten largest commercial music festivals have been identified, based on the amount of visitors that has been officially reported, combined with data from STIM2. The purpose of limiting the study to ten festivals for each year is mainly because these ten festivals represent a large portion of the Swedish festival market, especially when considering commercial music festivals. More than 200 individual festivals have been a part of the empirical background, and I suggest that analyzing the ten largest commercial music festivals in Sweden for each year is enough to understand the trend and development over a longer timeframe, mainly because Sweden is comparably a small market. As already mentioned though, smaller festivals has also been identified and analyzed, although these smaller festivals (usually with no more than 3 000 - 4 000 visitors) are not quantatively included. The study is not focused on explaining the economic development as such around music festivals in Sweden. In conversations with stakeholders from the live industry in Sweden, it has become clear that the preriquisites are quite different today from how they were only five years ago, it seems to be more difficult to arrange festivals that will result in good profit today, for different reasons. Of course, this can be seen in the "deaths" of individual music festivals during the later part of the studied period, as well as in break-even levels that sometimes by neccessity have to be much larger today than for just five or six years ago. It is important though to make a distinction between two possible perspectives on this development. On one hand, the term "festival death" could be used to describe the development of many festivals "dying". On the other hand, one could use the term as a description for a potential decrease in the interest for music festivals as such, that is, the amount of visitors is shrinking over time. I am first and foremost focused on the later perspective, quantatively examining whether the first perspective leads to the second perspective, and whether there are any trends towards Swedish music fans losing their interest in attending music festivals. In 2013 the term "festival death" had become so established that one research firm even developed a method, or model, that they labelled "A Vaccine for the Festival Death"3, comparing the phenomena to a disease that swept over the country. Many well- known music journalists expressed strong feelings for the development, using the term as a fact more than as a perspective, hence one of the purposes of this study is to evaluate whether the numbers really support the term as such. 2 STIM is the collective society that represents composers and music publishers in Sweden. They collect payment based on the amount of visitors of the festivals. In 2010 the model changed, which is described later on in the paper. 3 http://www.mynewsdesk.com/se/mssp/pressreleases/etour-testar-vaccin-mot-festivaldoeden-942306 3 2. Methodology and Data Collection First of all, official figures have been collected from music festivals for each year. This data has derived from the festivals own web pages, Wikipedia, media articles as well as festival focused web sites such as Festivalinfo.se and Festivalrykten.se.
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